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The Blakeslee Galleries Collection 



Highly Valuable Paintings 

BY THE GREAT MASTERS 

OF THE EARLY ENGLISH, FRENCH, FLEMISH 

DUTCH, ITALIAN AND SPANISH SCHOOLS 



TO BE SOLD AT UNRESTRICTED PUBLIC SALE 

UNDER THE MANAGEMENT OF 

THE AMERICAN ART ASSOCIATION 

MADISON SQUARE SOUTH 
NEW YORK 



LIBRARY OF THE 

ohn G. Johnson Collection 

CITY OF PHILADELPHIA 



Digitized by the Internet Archive 
in 2013 



http://archive.org/details/highlyvaluablepaOOamer 



ON FREE PUBLIC \II.W 

\i mi 

AMERICAN ART GALLERIES 

M \I>|M )N 5QI VRI ^< 'I III. M W Yi )\<K 

BEGINNING THURSDAY, APRIL 15th, 1915 

WD CONTINUING UNTIL THE MORNING OF 
THE DATE OF SALE, INCLUSIVE 



HIGHLY VALUABLE PAINTINGS 

FROM THE 

Blakeslee Galleries 



TO BE SOLD AT UNRESTRICTED PUBLIC SALE 

IN THE GRAND BALLROOM OF 

THE PLAZA HOTEL 

FIFTH AVENUE, 58th TO 59th STREET. NEW YORK 

ON WEDNESDAY, THURSDAY AND FRIDAY EVENINGS 
APRIL 21st, 22nd and 23rd 

BEGINNING PROMPTLY \l 8.15 O'CLOCK 



ILLUSTRATED CATALOGUE 

OF 1 1 II 

EXTENSIVE COLLECTION 

OF 

HIGHLY VALUABLE PAINTINGS 

BY THE GREAT MASTERS 

OF THE EARLY ENGLISH, FRENCH, FLEMISH 

DUTCH, ITALIAN AND SPANISH SCHOOLS 

FROM THE WIDELY KNOWN 

Blakeslee Galleries 

OF WHICH. ON APPLICATION OF THE COLUMBIA TRUST COMPANY AND 

MRS. THERON J. BLAKESLEE. ADMINISTRATORS OF THE LATE THERON J. BLAKESLEE. 

SURROGATE COHALAN HAS ORDERED A PUBLIC SALE TO BE MADE 



IN THE GRAND BALLROOM OF THE 

PLAZA HOTEL 

FIFTH AVENUE, 58th TO 59th STREET 

ON THE EVENINGS HEREIN STATED 



THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF 

THE AMERICAN ART ASSOCIATION, MANAGERS 

NEW YORK 
1915 




THE AMERICAN ART ASSOCIATION 

DESIGNS ITS CATALOGUES AND DIRECTS 

ALL DETAILS OF ILLUSTRATION 

TEXT AND TYPOGRAPHY 



CONDITIONS OF SALE 

1. Any bid which Is merely a nominal or fractional advance may 
be rejected by the auctioneer, if, in his judgment, such bid would be 
likely to affect the sale injuriously. 

2. The highest bidder shall In- the buyer, and if any dispute 

arise between two or more bidders, the auctioneer shall either decide 
the same or put up for re-sale the lot so in dispute. 

,'3. Payment shall be made of all or such part of the purchase 
money as may be required, and the nanus and addresses of the pur- 
chasers shall be given immediately on the sale of every lot, in default 
of which the lot so purchased shall be immediately put up again and 
re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, In default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary for 
the enforcement of the sale, or may at public or private sale, and 
without other than this notice, re-sell the lots for the benefit of such 
purchaser, and the deficiency (if any) arising from such re-sale shall 
be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon payment 
of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days — except holidays — between the 
hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art 
Galleries, or other place of sale, as the case may be, and only on pre- 
senting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of 
any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in 
which the Association is in no wise engaged, and will not be performed 
by the Association for purchasers. The Association will, however, 
afford to purchasers every facility for employing at current and 
reasonable rates carriers and packers ; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of 
the parties engaged for such service. 

0. Storage of any purchase shall be at the sole risk of the pur- 
chaser. Title passes upon the fall of the auctioneer's hammer, and 
thereafter, while the Association will exercise due caution in caring 



for and delivering such purchase, it will not hold itself responsible if 
such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association 
of the correctness of the description, genuineness or authenticity of 
any lot, and no sale will be set aside on account of any incorrectness, 
error of cataloguing, or any imperfection not noted. Every lot is 
on public exhibition one or more days prior to its sale, after which 
it is sold "as is" and without recourse. 

The Association exercises great care to catalogue every lot cor- 
rectly, and will give consideration to the opinion of any trustworthy 
expert to the effect that any lot has been incorrectly catalogued, and, 
in its judgment, may either sell the lot as catalogued or make mention 
of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper 
foundation. 

SPECIAL NOTICE. 

Buying or bidding by the Association for responsible parties on 
orders transmitted to it by mail, telegraph or telephone, will be faith- 
fully attended to without charge or commission. Any purchase so 
made will be subject to the above Conditions of Sale, which cannot 
in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a pur- 
chaser who has not, through himself or his agent, been present at 
the exhibition or sale, will permit such lot to be returned within ten 
days from the date of sale, and the purchase money will be returned, if 
the lot in any material manner differs from its catalogue description. 

Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstanding. 
Not, only- should the lot number be given, but also the title, and bids 
should he slated to be so much for the lot. and when the lot consists 
of one or more volumes of books or objects of art, the bid per vol min- 
or piece should also be stated. If the one transmitting the order is 
unknown to the Association, a deposit should be sent or reference sub- 
mitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, 
will be furnished bv the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 

American Art Galleries, 
Madison Square South, 

New York City. 



CATALOGUE 



ITALIAN PICTURES 

ATTRIBUTIONS AND CRITICAL NOTES BY 

DR. OSVALD SIREN, STOCKHOLM 

DESCRIPTIONS BY 

MR. WILLIAM ROBERTS, LONDON 



THE ITALIAN PICTURES IN THE BLAKESLEE 

COLLECTION 

INTRODUCTORY NOTES BY DR. OSVALD SIREN, STOCKHOLM 

Among the sixty-two Italian picturesin the Blakeslee Collection which 1 had 

the opportunity of seeing last Spring in New York, is none by any of the 
most famous masters of the Renaissance, but several by minor painters which 
are of great interest both to collectors and to students of Italian art. I hope 
that the following notes may serve to point out the speeial historic value of 
a few of them when they are plaeed in their proper schools, and, wherever 
possible, under individual names. Most of them had quite arbitrary attribu- 
tions, if they had any names at all. 

I need hardly state that in attributing the pictures to definite artists it 
has been my endeavor to go as far as possible, lint this is only possible at 
all when the painting shows a marked original character. There are, alas, 
some other pictures which have gone through so many vicissitudes, in the 
shape of repeated cleanings and restorations, that they have lost most of 
what they once may have possessed in the way of genuine style and char- 
acter. In such cases the expert's work becomes almost futile, and it must 
be left to the intelligent beholder to use his own discrimination. 

As the Catalogue contains short statements about every artist or school 
to which the pictures are attributed, and, where necessary, a few remarks 
about the quality of the pictures, I can here limit myself to shortly touch 
upon some of the more important paintings, giving additional reasons for 
their identification. 

The earliest period of Italian Renaissance Art ( if we reckon its be- 
ginning from Giotto), the Trecento, is represented in the collection by one 
picture only, but it is of considerable historic interest. It bears the name of 



Cimabue, an honor bestowed even upon many less important and less early 
Trecento-paintings, though it is evident that the picture has nothing to do 
with the Tuscan School at all. It has been done by Bologna's leading 
Trecento-master, Vitale, usually nicknamed "Vitale delle Madonne." 

In an article in Rassegna d' Arte, Feb., 1910, Dr. T. Gerevich gives 
documentary dates to the life of Vitale. The painter was born during the 
first decade of the fourteenth century and died between 1360 and 1370. 

Vitale's artistic style is known to us mainly through three Madonnas in 
his native city; one in the Pinacoteca, one in the church of San Salvatore 
and one in the Palazzo Davia-Bargellini; the one in the Vatican Gallery in 
Rome being sadly repainted. The first named is signed and dated 1320. 
But there can be little doubt that the date has been altered at some later 
epoch; the style of he painting proves that the master did not work in the 
second decade but towards the midst of the century. This is also confirmed 
by the date on the Madonna in the Palazzo Davia-Bargellini, which is 134.3, 
and by another Madonna, published by D'Agincourt (pi. CXXVII), with 
the same date. The Blakeslee picture is possibly still younger; it stands in 
the closest relation to the "Madonna della Vittoria," now in San Salvatore, 
but formerly in San Giovanni at Monte, outside Bologna. The composi- 
tion is practically the same in both, and the Madonna's elongated type of 
lace with the long nose and the large almond-shaped eyes show scarcely any 
variation. The two boys are also very closely related, the one in the Blakeslee 
picture being perhaps a little more solemn in his performance of the 
ritual blessing while sucking at the mother's breast. Two monumental 
Saints and some small figures on the pediments add to the decorative effect 
of the picture which has only been infringed by cutting off a piece at the 
bottom. 

Two other pictures in the collection reveal still the Trecento tradition, 
though they are painted three or Pour decades after the close of the four- 
teenth century. Both represent the Madonna seated in a low position, on 
a cushion or on a bed of clouds, with the one leg bent under her and the 
other knee raised so as to offer a suitable support for the child. This ele- 



ment of composition is a favorite one among the late Gothic painters in 
Italy, because it offers a fine opportunity for rich display of undulating 
mantle-folds and sweeping contours. The Virgin and the Child are united 
in a group which harmonizes perfectly with the ogival arch of the enclosing 
tabernacle. The figures are more pattern of design than representations of 
human beings; the principal aim of the artist being not representation, hut 
pure decorative beauty. 

The first of the Madonnas in the Blakeslee Collection is of Florentine 
origin; it is painted by the very attractive master I characterized some 
twelve years ago in my hook on Lorenzo Monaco as "il Maestro del Bam- 
bino Vispo," hut who later on has been identified by me as Parri Spinelli. 
The picture belongs to a comparatively early period in his career, when lie 
still worked under the predominating influence of Lorenzo Monaco, the 
probable date of it being about 141.5-20. 

The other Madonna-picture is not at all Florentine, though it seems to 
be showing a general resemblance to the first one in regard to its composi- 
tion; it is by a painter of the Marches. The school becomes evident in the 
Virgin's heavy, flat type and in the exquisite ornamentation of her precious 
white dress. But the individual master is in this ease not so easily found. 
There are many unknown painters among the Mareh-men of the early fif- 
teenth century. The leading master of that school was, at the beginning of 
the Quattrocento, Lorenzo da San Severino; but he is, as a whole, more 
primitive and rustic than the painter of this winning Madonna-picture. We 
must look around among Lorenzo's immediate followers to find its master, 
but these smaller men of the Marches are as yet too little studied to make an 
affirmative attribution safe. The most marked individuality known among 
them is Fra Matino Angeli. His signed and dated (1442) altarpiece at 
Monte Vidon Combatte affords apparently affinities of style to the Blakes- 
lee Madonna, particularly in the drawing of the Virgin's mantle and of the 
boy; he might possibly have painted the Little Madonna some years earlier. 

The Florentine Quattrocento is represented by six or seven pictures, 
among which are some problems worth a more thorough discussion than we 



in this short introduction can bestow; we must limit it to the most necessary 
remarks on the anonymous masters. 

"The Master of the San Miniato Altarpiece" is the name given by Mr. 
Berenson to a follower of Pesellino and Fra Filippo, whose principal work 
is a Madonna between four saints at San Miniato al Tedesco. Besides this 
large painting, he has done several small Madonnas of rather unequal qual- 
ity; we have seen recently two of his Madonnas in the market. And here 
in the Blakeslee Collection is the third. This picture comes very close to 
the one acquired by the Minneapolis Museum ( formerly belonging to Lady 
Theodora Guest). Both are to be counted among his better works, where 
a sensible echo of the Fra Filippo-Pesellino tradition still is to be felt. The 
master is a dependent man, who occasionally charms us, when nothing bet- 
ter is at hand, but who probably in his life-time had not the name of any- 
thing more than a humble artisan; still, he worked during the golden epoch 
of Florentine art. 

Much higher in quality and a little later in time stands the anonymous 
master whom we have given the temporary name: "Master of the Oriental 
Sash." The name needs hardly any explanation. It has been chosen be- 
cause most of the artist's Madonnas wear an Oriental sash, used either as 
a belt or as a bandage to support the child; it may be added, the master has 
a general predilection for embroidered and richly ornamented material. 

This is all confirmed by the picture in the Blakeslee Collection repre- 
senting the Holy Virgin, nursing the Child, attended by St. John. The boy 
wears an embroidered frock and he sits on the Oriental sash which is tied 
around the mother's neck. The group is placed under a marble arch inlaid 
with colored slabs and cut at the top. The preservation of the picture is, 
as anyone can see, not the best; it has been rubbed off a good deal. But it 
is perfectly characteristic of this anonymous master, who. as we follow him 
through his various works, appeal's to be one of the most charming (though 
not one of the strongest) among Florentine Quattrocentists. As his artis- 
tic personality never yet has been defined, we will use this occasion to say 
a few words about his development and his principal works. We find them 
in several museums ascribed to various masters: 



Florence, CJffizi Gallery, \r. 1278 6 **' "Scuola del Andrea del Verroc- 
chio" Altarpiece representing the Madonna on a throne of multicolored 
marble with arched top; on the sides stand St. Zenobius and St. John the 
Baptist ; kneeling in the foreground ar« St. Francis and St. Nicholas. In 
the very laconic catalogue of the CJffizi Gallery (English edit., L904) this 
picture is accompanied by the following note: "It is one of the finest speci- 
mens ol' Florentine art and lav hidden and forgotten till 1881 in the store- 
rooms of the Royal ( T th/.i Gallery. Having then been discovered and exam- 
ined by the members of the royal commission of art. it was pronounced a 
painting by Verrocchio." The royal commission seems later to have arrived 
at another result, because nowadays the picture is more safely ascribed to 
the school of Verrocchio. 

Florence. Uffizi; from Sta Maria Nuova, Xr. 23: Madonna and 
three angels. This picture is officially ascribed to "Fra Filippo Lippi(?)" 
and by Mr. Berenson to "Arnica di Sandro." ("Florentine Painters," 3d 
edit., p. 100.) 

Florence. Prof. Luigi Grassi: Madonna standing under an arch suck- 
ling the Child, who is supported by the Oriental sash, tied round the 
mother's neck. This Madonna is the exact counterpart of the one in the 
Blakeslee Collection, the only difference being' that the picture is larger 
and better preserved, and that St. John is replaced by a vase of flowers. 

Englewood, X. J. Mr. D. F. Piatt: Madonna holding the Child on 
a cushion while he is kicking with his feet and blessing with his hand. A 
very interesting, probably early picture, close to the Madonna in Paris and 
Munich (see below). 

London. National Gallery, Xr. .589, "School of Lippi": The Virgin 
seated under an arch, an angel presenting the infant Christ to her. The 
composition is inspired by Botticelli's Chigi Madonna, now belonging to 
Mrs. Gardner in Boston. There is another version of the same Madonna, 
with two angels, in the museum at Naples. It is probably a somewhat later 
work by our master, though less obvious. 

Milan. Museo Poldi-Peszoli, Xr. 156, attributed in the catalogue of 
1911 to Botticelli: Madonna; child standing on her knee, an angel is present- 



ing a vase with flowers. Picture showing influence of Cosimo Rosselli, be- 
sides Verrocchio and Botticelli. 

Munich. Julius Boehler: Madonna caressing the Child, who is sup- 
ported by two angels. Closely related to Mr. Piatt's Madonna. 

Paris. Louvre, Nr. 1345, "Ecole de Fra Filippo Lippi": Madonna 
seated on a cushion on the ground offering a pomegranate to the boy. Ador- 
ing angels with flowers form a niche behind her. One of the master's best 
pictures. 

Paris. M. Henri Heugel : Virgin and the little St. John adoring the 
child. The Virgin's mantle is lined with beautiful brocade stuff; rocky land- 
scape, very attractive. Ascribed by Mr. Berenson to Bottieini ("Florentine 
Painters," 3d edit., p. 121), and in Sedehneyer's Catalogue, 1902, to Filip- 
pino Lippi. 

No doubt the list of this anonymous master's works could easily be en- 
larged, but those mentioned afford enough material for a just appreciation 
of his artistic ability; the attributions quoted above may serve to throw some 
light on the general uncertainty about his derivation and his position in the 
Florentine School. 

Evidently, the painter is to be reckoned among Verrocchio's pupils, al- 
though he might have begun his artistic career already with some older mas- 
ter, like Cosimo Rosselli. Verrocchio's severe, somewhat harsh style is pre- 
dominant in the large Uffiizi altarpiece. Hut the master's own temperament 
seems to have brought him in closer contact with Botticelli's art; several of 
his smaller Madonnas (for instance, Piatt's and Boehler's) show interesting 
affiliations with Botticelli's early works. Possibly — and this is the most nat- 
ural assumption — he was an assistant first with Verrocchio and then with 
Botticelli. Thus he came also in contact with Bottieini. And, indeed, this 
is the master with whom he is most easily confounded. Their lines of evolu- 
tion run at least in the beginning parallel ; they step out of Verrocchio's work- 
shop about the same time, and they are both second-rate men often engaged 
in multiplying known compositional forms and figures. Bottieini is perhaps 
the stronger draughtsman, but he is also harder and dryer than the "Master 
of the Oriental Sash." He lacks the tone of dream and yearning which is 



characteristic of so many of the anonymous master's Madonnas, connecting 
them with Botticelli's blessed Virgins. 

Anyone who will take the trouble to examine the pictures enumerated 
above will easily recognize the identityof the painter and his most pronounced 

morphological characteristics. The Madonnas have all the same type; a 
short triangular face with a broad forehead and pointed chin: the hands are 
feeble in comparison with those of Verrocchio, Botticelli or even Botticini; 
the drawing of the boneless fingers being particularly deficient. The bam- 
bino is rather clumsy, with an excessively large round head, lint, in spite 
of that, his liveliness is very marked, especially when he is not entirely en- 
grossed in the appeasing of his appetite. His playfulness in connection 
with the heavy, contracted limbs give him sometimes almost likeness with a 
bear's cub. 

The master is a poorer landscape painter than most of his contempora- 
ries; when he occasionally gives some nature view in the background it is hard 
and schematic, he evidently prefers to fill the background with some architec- 
tural motive. The incrusted marble arch reappears, as we have seen in sev- 
eral of the pictures, entirely or partly, enframing the Madonna group. 

Another painter of the Botticelli school is represented in the Blakeslee 
Collection by a ^Ladoima-tondo of more common character. He is consider- 
ably later than the Master of the Oriental Sash and individually less 
marked, thus reflecting the Botticellian art more directly, and at a later, more 
decadent period. We learn from him more about Botticelli's mannerisms 
and exaggerations than about his charm and expressiveness. 

The same stylistic group is completed by Jacopo de Scllajo's Madonna 
formerly ascribed to Botticini. but marked by the characteristic mannerism 
of Sella jo at his latest period. 

Still later in date and further developed in style are two tondos, the one 
of the school of Lorenzo di Credi and the other of the school of Piero di Co- 
simo, both representing the Nativity. The first is painted by a well-known ar- 
tistic personality whose name, however, has not yet been found. Morelli used 
to call him "Tommaso," identifying him with a certain Tommaso di Stefano, 
mentioned by Vasari among Credi's pupils; but if Yasari is right about the 



master's age (born 1494), this identification is hardly convincing'. The style 
of this individual is, however, easily recognizable in a number of pictures in 
the Uffizi, Pitti, and Borghese Galleries and in several private collections, 
most of them representing the Holy Virgin kneeling in adoration before the 
puffy child, sometimes accompanied by an angel, as we see her in the Blakes- 
lee tondo. A drawing which probably has been used for one of "Tomma- 
so's" kneeling Madonnas is to be found in the National Museum in Stock- 
holm. The type of the Virgin and the treatment of the mantle folds are ex- 
actly the same as in the Blakeslee picture. 

None of the very popular Sienese Quattrocento painters meet us in the 
Blakeslee Collection, but there are two characteristic specimens of Sienese 
Cinquecento art; we refer to the playing angels by Pacchiarotto and to a 
Madonna by Girolamo da Pacchia. The angels, which were honored by the 
name of Melozzo da Forli, are evidently cut out from some larger altar- 
piece like the Ascension of Christ in the Siena Academy. We find there their 
exact counterparts in the singing and playing angels, floating around the 
Saviour, who ascends the clouds in a dancing movement. These joyous beings 
seem to be a humorous mixture of seraphs and satyrisques. 

A particularly fine Madonna by Dcmenico Puligo should be pointed out 
among Florentine Cinquecento pictures. It is not often that we find this 
master represented by a work of so solid and homogeneous a character. 
And. indeed, it is no less pleasure in the study of art than in life to find one's 
expectations surpassed by reality. Another good Tuscan picture, from the 
end of the century, is Francesco Vanni's large representation of the Madonna 
with St. Katherine of Siena. It is true that it shows a certain superficiality 
of handling and looseness of form. Hut the light, transparent colors endow it 
witb an effervescent beauty, recalling French Rococo paintings. 

Turning from the Tuscan painters to the Central Italians, we may ob- 
serve ;i connecting link in a Madonna formerly ascribed to a Florentine pu- 
pil of Benozzo Gozzoli, but evidently by the I nibrian Boccati da CamerinO, 
who also felt some influence from Benozzo, although his main education was 
thai of a March-man. lie represents the Madonna, as usual, on a throne of 
elaborate architecture, surrounded by angels who do their utmost in playing 



and singing her praise. All the morphological details, the type of the .Ma- 
donna and of the angels, their claw-like fingers, their whimsical movements, 
correspond exactly to the same details in Boccati's Madonnas in the gallery 
at Perugia (No. 9). There is a touch of fresh naivete in the whole rep- 
resentation which might reconcile ns with much of the awkwardness and 
deficiency in the drawing of the figures, and it remains, in spite of restora- 
tions, a rather winsome provincial idyll. A picture of stronger individual 
character and intrinsic drawing is the Madonna by a companion of Lorenzo 
Costa. It' we dare follow Venturi, the master might he Galasso Galassi, a 
name proposed by the learned writer for two panels in Budapest, by the same 
hand as our Madonna, representing music-making angels. (Cf. "Storia dell' 
arte Italiana," vol. VII, part III, p. 4 ( .)<>.) These angels are officially attrib- 
uted to Francesco Cossa and by Mr. Berenson to Marco Zoppo ( '.) . To us 
it seems evident that they are by a companion of Tura, though it is hard to 
tell whether he was Galasso or not, as we know of no signed work by this 
artist. The artistic personality is marked, anyhow, and he reveals himself in 
the most favorite way in the Blakeslee Madonna, a picture of refined and 
original character in good preservation. 

The central master of the Umbrian School, Pietro Perugino, is not rep- 
resented by any work of his own, but there is a Madonna in his style prob- 
ably executed by his follower Giannicola Manni. A comparison with Gian- 
ni's large altarpiece, the Madonna between St. Francis and St. Jacob, in the 
gallery at Perugia, offers ample reason for this attribution. 

A smaller octagonal picture representing the Virgin between the Two 
St. Johns shows the Peruginesque School tradition mixed with the current 
of the Francis School at Bologna. The blending of these two different cur- 
rents took place especially in the Romagna. There can be little doubt that 
the present picture was executed in that region. 

Giovanni Battista Bertucd of Faenza is the nearest designation we can 
propose for the picture; it is somewhat finer and more graceful than Bertuc- 
ci's large altarpiece in Faenza and in Berlin. But the style is the same, and 
the artist probably handled the smaller painting with greater care. 

The Milanese pictures are not very numerous in the Blakeslee Collee- 



tion, but among them are two or three of particular interest. The first is an 
altarwing attributed to Butinone. The picture has been discussed by Her- 
bert Cook in the Burlington Magazine ( 1904, p. 94) , m t 1io reckons it as one of 
the few known authentic works by this rare master of Treviglio. "It dated ap- 
parently from the era of the Treviglio altarpiece, i. e., about 148o, with which 
comparison of detail should be carefully made. In particular the metallic 
luster of St. John's face and the curious drawing of the bony fingers are 
characteristic of our painter." Bernardino de' Conti's Madonna is interest- 
ing because of the predominant influence from Leonardo's art it exhibits. 
The landscape is in a cold greenish tone, and the Virgin's type is Leonard- 
esque. Had it not been so much rubbed, it woidd take a prominent place in 
the school of Leonardo. 

The best picture in this group, is however, Andrea Solaria's "Madonna 
dei fiori." The unusually attractive motive of the Virgin offering some flowers 
in her outstretched hand gives a pleasant feeling of Solario's close affiliation 
with Venetian art. It is the same motive which has become famous through 
Titian's "Flora" in the Uff'izi. Is it possible that the painters have invented 
it independently, or have they borrowed it from a common source? Solario 
cum at least not have taken it from Titian, because his Madonna picture is 
nearly twenty years earlier than Titian's "Flora." It stands in closest re- 
lation to the Holy Family with Saint Jerome in the Brera, dated 149.5. 

Another outsider who, like Solario came under predominating Venetian 
influence was Boccaccio Boccaccino of Cremona. We arc inclined to attrib- 
ute to him a little Madonna, formerly ascribed to Giacomo Francia. The 
attribution is sustained by several details such as the Virgin's left hand, the 
draping of her mantle, the delicate treatment of the landscape, and above all 
by the characteristic boy; he is the typical Boccaccino bambino, with a large 
head and precocious expression. The Virgin's type is a little more Venetian 
than we are used to find in Boccaccio's pictures. 

The other North Italian pictures in the Blakeslee Collection need 
scarcely be discussed; they are noted with deserving remarks in the Cata- 
logue. The most problematic among them is the Madonna catalogued un- 
der Girolamo dai Libri's name. The attribution is about as hard to eon- 



firm as to disprove, because so much of the picture's original character has 
been Lost in the restorer's shop. Hut it possesses still an undeniable charm, 
and much ran be said in favor of it being an original by Girolamo dai Libri. 
Anyhow, its Veronese origin is evident. 

The Bellini School, the central hearth of Venetian painting at the end 
of the Quattrocento, can be studied in several second-hand works. Pissolo 
is represented by a nice and soft .Madonna and by a still more attractive 
bust of the Saviour, both in light and hazy colors; Girolamo da Treviso by 
a characteristic signed Madonna of unusual size, and Girolamo (hi Santa 
Croce by a very decorative Madonna being an imitation of the Bellinesque 
composition. 

Pal ma Vecchio's Holy Family is a well-known picture from the Butler 
sale, which always will hold its place as an effective piece of decoration. The 
same is true in still higher degree of the large portrait representing a lady 
with her dog from the Farrer Collection. It is, indeed, a picture of very 
remarkable decorative quality; the silver brocade in the lady's dress and the 
transparent white sleeves are painted with an admirable technique. The land- 
scape view is given in pastos colors almost in a Titianesque manner, but the 
handling of the face, the hands and the neck is more timid. It is evident at 
the first glance that the portrait stands in close relation to Paolo Veronese's 
art, and this has also found expression in the traditional attribution to Paolo's 
son Carlotto, but the individual master is perhaps not quite so evident. \Y V 
know nothing by Carlotto of nearly as good and solid quality as this pic- 
ture. It is also earlier in date; the treatment of the landscape, as well as the 
manner in which the face is painted, is pre-Veronesque, and the costume is 
to be seen in Titian's portrait of his daughter, Lavinia, in Dresden, about 
1.55.5. The nearest analogies to this portrait we have been able to find are 
the two portraits in the Museum in Vienna ( Nos. 395 and 297), now unani- 
mously given to Paolo Veronese's teacher, Antonio Badile. They exhibit 
the same kind of solid, somewhat provincial translation of Titian's art, the 
same timid handling of the flesh parts and gorgeous stuff painting as we 
have observed in the Blakeslee portrait. The attribution is also supported 
by a comparison with Badile's large altarpieee in the museum at Verona, 



which is inspired by Titian's Pesaro-Madonna and includes the same kind 
of silver brocade as we find in the lady's dress. Badile was a poor inventor, 
with little or no imaginative gifts, but a good painter ; he knew how to teach 
Paolo the brushwork ! 

Several pictures by various Bolognese and Neapolitan painters illus- 
trate the tcncbroso and academic schools of the seventeenth century; they 
should be appreciated from a historical point of view, whereas the small can- 
vases by Piazzetta, Pittoni and Domenico Tiepolo may afford some aesthetic 
enjoyment, revealing a touch of the last brilliant effervescence of painting 
in Italy. 



TUSCAN SCHOOLS 



FIRST NIGHTS SALE 

WEDNESDAY, APRIL 21, 1915 
IN THE GRAND BALLROOM 

OF 

THE PLAZA 

FIFTH AVENUE, 58th to 59th STREET 
BEGINNING PROMPTLY AT 8.15 O'CLOCK 



NOTE: The attributions and critical notes of the Italian pictures are by 
Dr. Osvald Siren of Stockholm, and the descriptions have been written 
by Mr. William Roberts of London. 



No. 1 
MASTEB OF THE SAX MIMATO ALTARPIECE 

A Florentine painter of the school of Pesellino and Fra Filippo. His actual 
name is as yet unknown, hut he is a distinct artistic personality, named after 
his principal achievement, the altarpiece in the right transept of San Domenico 
at San Miniato al Tedesco (Cf. Berenson, "Catalogue of the John G. .John- 
son Collection," Vol. I, j). 23). 

MADONNA AND TWO ADORING ANGELS 

(Thick Panel) 

Height, 25 inches; width, 19 inches 

Small three-quarter length of the Virgin, in scarlet dress, gold mantle 
lined with bine, and brownish head-dress, seated on a marble bench; the 
Infant in white, seated on her knee, His right hand upraised, the two first 
fingers extended; an angel in red dress and golden hair on either side with 
hands clasped. 

From the Conte Galli-Tassi Collection, Florence. 

This picture is one of the anonymous Master's most attractive creations. 

No. 2 
ANGELO ALLOKI (called KKONZIXO) 

Florentine; 1502-1572. Pupil of Pontormo, imitator of Michelangelo. 

PORTRAIT OF A LADY OF QUALITY 

Height, 25 inches; width, 19 inches 

Small half-figure of a young lady with set features, directed to front and 
looking slightly to left; rich crimson and black dress embroidered with white 
and gold, edged with white lace at neck and wrists, plastron elaborately em- 
broidered with pearls and gems, long heavy gold neck chain, held with left 
hand, yellow gauntleted gloves in right hand, jeweled rings on both hands; 
reddish-brown head-dress with white chiffon cap. 
Transferred from panel to canvas. 



No. 3 
TUSCAN MASTER 

Latter Part of the Fifteenth Century 

PORTRAIT OF A LADY 

(Panel) 
Height, 14 inches: width, 11 inches 

Head and shoulders to front, looking to left, yellow low dress, cut square 
at neck and shoulders and with black laeets; golden hair, yellow and red 
patterned close fitting head-dress with blue border, and heart-shaped point 
over forehead; gold necklace of five rows; blue background. 

Inscribed on the parapet, LaVra Petrarch. v.. 

Collections of J'. Manfrin, Florence: and ./. Edward Taylor, London, 1912, 
No. 20. 

This is one of the best copies done from the famous miniature portrait in 
a Codex now in the Laurent ian Library in Florence, ascribed to Sinione Mar- 
tini and said to represent Petrarch's Laura. We have seen In private collec- 
tions other copies of the same miniature, hut they are of less good quality. 




^ LAVR A -PETKARCHAE 



No. 4 
JACOB DEL SELLAJO 

Florentine; 1442-1493. Pupil of Fra Filippo ; a very versatile painter, imitat- 
ing Pesellino, Cosimo Rosselli and especially Botticelli. 

VIRGIN AND CHILD 

Height, 311/2 inches; width, 17 inches 

Half-length figure, standing to front, scarlet dress, blue-hooded cloak, 
golden hair, holding in right hand pomegranate on which the Infant's right 
hand rests ; he is in light bluish drapery and stands before her on a bright 
scarlet cushion which rests on ledge or parapet across the foreground; gray 
wall background, with conventional tree on either side, scarlet and gold cur- 
tains; arched top. 

Transferred from wood to canvas. In contemporary carved frame. 



No. 5 
GrIACOMC ) PACCH I A K( )TTO 

Sienese, 1475-1540. Pupil of Matteo di Giovanni, influenced by Fungai and 
Francesco di Giorgio. 

ANGEL MUSICIANS 

(Pair) 
Each: Height, 13 indies; length, 17 inches 

(a) Three youthful angels walking to right and looking up; in red and 
greenish dresses, playing violin and cymbal, the end one praying - . 

(b) Three youthful angels to left in green, yellow and white dresses; the 
first two playing instruments. 

Two small pictures, transferred from wood to canvas, fragments of a 
large altarpiece. Vivid color scheme, in good condition. In carved Renais- 
sance frames. 



\u. 6 
MADONNA AND CHILD 



in 



lWHKI SPINELL1 



No. 6 
PARK I S1MXKLLI 

Florentine school; 1387-1453. Son and pupil of Spinello Aretino; influenced 
by Ghiberti and Lorenzo Monaco. A full account of Parri's artistic develop- 
ment and his early works, which were formerly given to an anonymous mas- 
ter, "II Maestro del Bambino Vispo," is to be found in The Burlington Maga- 
zine, March and April, 1914. 

MADONNA AND CHILD 

(Panel — arched top) 

Height, 34% inches: width, 18 inches 

Small whole-length figure of the Virgin to front seated on a cushion on 
floor covered with brilliant scarlet and gold carpet; red dress, blue gold-em- 
broidered cloak, loose white bead-dress with long ends; tbe Infant in blue and 
scarlet, seated on bis Mother's knee, holding her bead-dress in left band, 
and sucking forefinger to right; two angels supporting a crown over tbe 
head of the Virgin; gold background. 
In contemporary carved gilt frame. 

Formerly in the Galli-Dunn Collection, Pogginbonsi. 
Exhibited at the Mostra delV Antic a Arte Senese, Siena, 1904. 
Mentioned in "'The Burlington Magazine," p. 24, April, 1914. 



No. 7 
MASTER OF THE ORIENTAL SASH 

Florentine; temporary name for an artistic personality formed in Verrocchio's 

studio and influenced by Botticelli. A closer account of this interesting mas- 
ter is to be found in the introductory notes. 

MADONNA, CHILD AND ST. JOHN 

Height, 20 inches; width, 14* inches 

Small half-figure of the Virgin standing under an archway to right, in red 
dress and blue cloak, head inclined to left, fair hair, dark head-dress, nurs- 
ing the Infant, who is supported by a red and black "sling" suspended from 
His Mother's shoulders; the Child in gray patterned shirt at right; infant 
St. John in red cloak and grayish dress is carrying a cross and holding a 
scroll inscribed "Ecce" (Agnus Dei) ; green background. 

Transferred from wood to canvas and framed in a Quattrocento taber- 
nacle. 



No. 8 
MAESTRO TOMMASO 

This is the name given by Morelli ("Die Gallerien Borghese und Doria-Panfili 
in Rom," p. 115) to a follower of Lorenzo di Credi whose principal works, ;ill 
representing the adoration of the Christ-child in tondo-form, arc to 1"' found 
in the Borghese Gallery. Rome, and in the Pitti Palace, Florence. 

THE NATIVITY 

(Panel) 

Height, .'i.'J'o inches; width, 33 inches 

Whole-length figure of the Madonna in a landscape, to left, kneeling in 
adoration before the nude Infant, who is reclining on a rug on the floor; 
she is in scarlet low dress edged with white, white head-dress, blue eloak, 
fair hair; over the head of the Infant an angel is placing a floral wreath, 
and behind St. John is seen; to right St. Joseph in red and brown dress 
holding a staff; background an undulating landscape with hills. 
Tondo, in original carved frame. 



No. 9 
DOMENICO PULIGO 

Florentine; 1475( ?)-1527. Pupil of Andrea del Sarto, influenced by Ridolfo 
Ghirlandajo. 

MADONNA, CHILD AND ST. JOHN 

(Panel) 

Height, 32 inches; width, '25 inches 

Youthful Madonna to right, directed to left, in pink, blue and yellow 
draperies with brown head-dress, supporting the Infant, who is holding a 
blue and gold striped ball handed to him by St. John, whose staff and red 
cloak are on the table. 

A large and fine specimen of this interesting pupil of del Sarto. 



No. 10 
FRANC 1 KSCO VANNI 

Sienese; 1565-1609. Pupil of Arcangelo Salimbeni, influenced by Andrea del 
Sarto and Barocci. 



VIRGIN AND CHILD AND ST. KATHEMNE 

Canvas: Height, 38^ inches; width, 28 inches 

Nearly whole-length of the Virgin, seated to right, directed to left; scarlet 
dress with bine hood, white head-dress, brown hair; the slightly draped 
Infant seated on her lap and looking up to left; St. Katherine of Siena, 
with white nun's veil, holding lily branch and kneeling in adoration to left, 
hands resting on book. 

The figures are probably cut out of a larger composition. An attractive 
painting, in light blue, green and white colors. 



No. 11 
AXUELO ALLOKI (called BRONZINO) 

Forentine : 1502 — 1572 

PORTRAIT OF A LADY OF THE CORXARO FAMILY 

Height, 3-t inches; width, 27 inches 

Half-figure, about thirty standing by a stone balcony: scarlet over-dress, 
white and gold patterned sleeves, white lace collar, pearl necklace and ear- 
rings; fair hair with pearl rope, bracelets of precious stones, right hand 
holding fan, left with cameo portrait of Luigi Cornaro. 
Transferred from panel to canvas. 

From the J. E. Taylor Collection, London, 1912, No. Hi. 

This portrait was evidently done in Bronzino's studio, but only partly 
by the master himself. 



CENTRAL ITALIAN SCHOOLS 

Bologna, Ferrara, Umbria and the Marches 



No. 12 
SCHOOL OF COSIMO TUKA 

Ferrarese master working about 1450, influenced by Tura and Francesco 
Cossa. Two angels by the same painter in the Museum at Budapest are 
ascribed to Cossa. 

MADONNA AND CHILD 

(Canvas) 
Height, 22 inches; width, lOVii inches 

Small half -figure of the Virgin, directed slightly to left, looking down at 
child; scarlet dress embroidered with gold hands, blue cloak, fair hair with 
pearl rope, white gauze head-dress; the Infant to left looking up towards 
His Mother. Jioth figures have a peculiar gold-spotted aureole. 
In a carved Renaissance tabernacle. 

From the Charles Butler (Warrenwood) Collection. 

A charming picture of pure and refined character. 



No. 13 
GIACOMO FRANCIA 

Bolognese, 1486-1557. Son and pupil of Francesco Francia. 

MADONNA AXD CHILD WITH ST. JOHN 

Height, 23% inches; width, 18 : U inches 

Half-figure of the Virgin to front, head inclined to left; red low dress, 
blue hooded cloak, thin white muslin head-dress; the Infant in red shirt 
seated on a blue cushion which rests on a ledge which extends across the 
center of the picture; to left St. John with cross; blue sky and undulating 
hills to right. 

Transferred from wood to canvas. Characteristic picture in good con- 
dition. 

Exhibited: New Gallery (Earl// Italian Art) London, 1893-4, Xo. 172; and 
Burlington Fine Arts Club, London, 1894, Xo. 28 

From the collection of Charles Butler, 1911, Xo. 25. 



No. 14 
GIOVANNI BATTISTA BERTUCCJ 

Born at Facnza; worked 1500-1516. Influenced by Perugino, Pinturicchio, 
Lorenzo Costa and Francia. 

MADONNA AND SAINTS 

(Panel) 
Octagonal, 29 1 i inches 

Thk Madonna, seated to front, scarlet dress with gold edging', blue cloak, 
fair hair, brownish head-dress, her hand resting on a fruit; the Infant in 
slight gold drapery on her lap; on left St. John the Baptist, to right St. 
John the Evangelist, both in the attitude of prayer; green background. 

A graceful and well-preserved picture. 



No. 15 
DOM EX ICO ALFANI 

Umbrian; 1480 — after 155.3. Pupil of Perugino, imitator of Raphael, later in- 
fluenced by Andrea del Sarto and Rosso Florentine 

HOLY FAMILY AND ST. JOHN 

(Panel) 

Height, 2(3 inches; width '22 inches 

Ax interior, three-quarter figure of the Virgin seated to front, scarlet dress 
with gold insertion and sleeves, a pearl ornament at her bosom, blue cloak 
over shoulders and lap ; reading a book held in right hand, and with the left 
supporting the lightly clad Infant, who is seated on her lap and is receiv- 
ing a cross from St. John; the latter to left holding scroll inscribed "Ecce 
Agnus Dei"; to right St. Joseph in slate-colored dress and brown cloak, 
left hand upraised; landscape seen through window to left. 
In carved Renaissance frame. 



No. 16 
COLA DELL' AMATRICO 

School of the Marches; about 1480 — after 1547; influenced by Vittoria Crivelli 
and other Marchegian painters, later by Raphael and Michelangelo. 

THE ANNUNCIATION 

(Panel — arched top) 
Height, .'50 inches; width, 19% inches 

The Virgin standing in a hall, in rich red dress and long blue cloak; the 
angel in gray and red is kneeling at her feet and is holding a lily branch in 
her left hand; the First Person of the Trinity is seen above in clouds, a dove 
descending; through an open window to left is seen a hilly landscape. 
In old Renaissance frame. 



No. 17 
FKA MAKTIXO AXCiKLI (?) 

School of the Marches. Fra Martino Angeli from Santa Vittoria was a fol- 
lower of Lorenzo da San Severino the elder; a signed picture by him dated 
1448 is preserved in S. Biagio at Monte Vidon Combatte. 

MADONNA AND SAINTS 

(Panel — arched top) 

Length, 30 incites; width, 16 inches 

Small whole-length figure of the Madonna on clouds, in white brocaded 
mantle ornamented with golden crowns, with long black hooded cloak, and 
holding the Infant at her left side: she is surrounded by four saints: St. 
Katherine of Siena, St. Katherine of Alexandria, St. Francis and a Bishop: 
gold ground. The picture has its original Gothic tabernacle and is as a 
whole beautifully preserved. 



No. 18 
GIAXXICOLA MAXXI 

Umbrian; active 1493-1544. Pupil of Perugino, influenced by Pinturicchio 
and Raphael. 

MADONNA AND CHILD 

Height, 30 incites; width, 25 inches 

Small three-quarter figure, seated to front ; deep red low dress edged with 
gold embroidery, blue cloak, brown hair: the nude Infant seated on her 
lap. His right hand raised; central background, broad strip of curtain (or 
back of chair), to left winding pathway to castellated buildings, to right 
seacoast with numerous towers. 

Transferred from wood to canvas. 



No. 19 
GcIO V A X N I B( )( C ATIS 

Umbrian; active about 1433-1470. Born at Camerino, possibly a pupil of 
Lorenzo da San Severino tbe elder, but developed mainly under the influence 
of Piero dei Francesehi and Beno/zo Gozzoli. 

MADONNA AND ANGELS 

(Panel — with circular top) 

Height, 3(5 inches; width, 23 inches 

Whole-length Madonna enthroned in a niche; gold-embroidered dress and 
blue-hooded cloak; the Infant, seated on her lap and holding her cloak ^ith 
right hand, is looking down to right at three singing angels; to left are 
three other angel musicians. 

From the Conte Gatti-Tassi Collection, Florence. 

An interesting picture showing the peculiar mixture of Florentine and 
Umbrian elements which is characteristic of Boccatis. 



No. 20 
IMBHIAX SCHOOL 

End of Fifteenth Centuby 

ADORATION OF THE MAGI 

Height, H 1 - inches; length, 50% inches 

A group of twelve figures: the Holy Family occupies the center of the 
picture in front of a cowshed. The wise men, leaving their horses with 
attendants, are advancing from the left carrying presents: St. Joseph re- 
ceiving the offering of the foremost, who is prostrate before the Holy 
Family: the Virgin in blue dress holding the Infant; to right a piping shep- 
herd and a flock of sheep, an angel in the distance; conventional land- 
scape and trees to left. 

Transferred from wood to canvas. 

A prcdella picture. 



No. 21 

VITALE DA BOLOGNA 
(called VITALE DELLE MA DONNE) 

The earliest artistic personality in Bologna, active about 1 330-1360 ; influ- 
enced from Giotto's school in the Romaena and from Siena. 



MADONNA AND SAINTS 

(Panel) 

Height, .'i-t inches; length, 40 indies 

An altar-triptych. In the center, the Virgin in bine gold-embroidered 
hooded cloak and light white head-dress, head inclined to left, gold star on 
left shoulder; the Infant in red and gold drapery supported on His 
Mother's right arm; scarlet and gold background. To left St. Peter, with 
keys and red hook. To right St. Regolius Papa, with long heard and 
miter, right hand upraised, left holding open volume in which is inscribed 
his name. On the three gables are represented the Annunciation, the 
Crucifixion and a kneeling Magdalen. In two niches formed by the gables 
arc St. Francis receiving the stigmata and St. John the Baptist. 

This picture is an important specimen of this rare master, free from 
restorations, but cut at the bottom. 



No. 22 
GIOVANNI JLO SPAGXA 

Umbrian; active 1500-1529. Pupil of Perugino and Pinturicchio, influenced 

by Raphael. 

ST. MARY MAGDALENE 

(Panel) 

Height, 52^4 indies; width, 21 inches 

Whole-length figure standing in a landscape, to front; dark blue dress 
with yellow sleeves and embroidered with gold, scarlet overdress and blue 
cloak, brown hair bound with greenish net, and head-dress which falls over 
her left shoulder; right hand holding small urn-shaped vessel, red covered 
volume in left; thin gold necklace, red shoes. 

In a Venetian tabernacle frame of about 1.550. 



NORTH ITALIAN SCHOOLS 

Milan, Vicenza, Verona, Venice 



No. 23 
BOCC ACC IO BOCC ACC I N O 

School of Cremona; 1467-1525( ?). Studied under Alvi.se Vivarini in A'enice; 
influenced by Foppa and other Milanese painters. 

MADONNA AND CHILD 

(Panel) 

Height, 15 inches; width, 12 inches 

Smaix half-figure of the Virgin, standing to front in a landscape and look- 
ing downwards; in scarlet robe, blue-hooded cloak over plain* white head- 
dress falling over shoulders, her left hand resting on parapet on which the 
nude Infant is seated, and is looking at spectator; background, undulating 
view with trees and river. 

A fine picture in good condition; it stands very close to Boccaccino's 
little "Madonna" in Padua. 



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No. 24 
FRANCESCO BISSOJLO 

Venetian School; active 1492-1554. Pupil and assistant of Giovanni Bellini. 

CHRIST IN A LANDSCAPE 



Height, 19 incites: width, 15 inches 

Bust to front, red dress, slightly open at neck, showing white vest, green 
cloak, long curly hair flowing over shoulders, background of field, clump 
of trees and cloudy sky. 

Transferred from panel to canvas. 

Light and harmonious colors: green, red and brown. 



No. 25 
ANDREA SOLARIO 

Milanese; circa 1465 — after 1515. Pupil of his brother Christofano; influ- 
enced by Antonello da Messina and Alvise Vivarini, finally by Leonardo. 

MADONNA AND CHILD 

(Panel) 
Hc'ujlit, 11) 'indies; width, 15 inches 

Small half-figure, seated, of the Virgin in richly embroidered corsage with 
black lacets, blue cloak, fair hair, large white head-dress with long ends; 
holding in right hand cherries and other fruit; the Infant, seated on her 
lap in thin gauze covering, wearing a necklace with gold cross suspended. 
holding in right hand a single rose and in left cherries; background, narrow 
panel of red cloth on a dark green wall. 
In carved Renaissance frame. 

A very- attractive although rather late specimen of Andrea Solario's 
solid art. 



No. 26 
PORTRAIT OF A LADY 



BY 



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No. 26 
BAKTOLOMMEO YEN ETC) 

Venetian School; active 1500-1530. Pupil of the Bellinis, influenced by Berga- 
mesque and Milanese painters. 

PORTRAIT OF A LADY 

Height, 21 inches; width, 18 inches 

Half-figure of a lady in green dress embroidered with gold, white chemi- 
sette, standing in front of a balcony on which is an open music-book, play- 
ing a lute ; long wavy hair falling over shoulders. 
Transferred from wood to canvas. 



This is a replica or old copy of a picture by Bartolonnneo Veneto ; other 
versions are in the Ambrosiana Gallery in Milan, and in the collection of Mrs. 
Scott-Fitz in Boston. 



No. 27 
BERNARDINO DE' CONTI 

Milanese; 1450 — after 1522. Pupil of Zenale, influenced by Leonardo and 
Boltraffio. 



MADONNA AND CHILD 

(Panel) 

Height, 23 inches; width, 17% inches 

Small half-figure of the Virgin in a rocky landscape; to front, red dress, 
blue gold-lined cloak fastened at neck with cabochon ruby, long wavy fair 
hair falling over shoulders; the Infant seated on her lap in blue and gold- 
edged dress; rocks to left, castellated buildings to right. Green tone. 



No. 28 
GIROLAMO DA SANTA CROCE 

Bergamesque Venetian; about 1480-1556. Follower of Cima, Mansneti and 
Bellini. 

MADONNA AND CHILD 

Canvas: Height, 27% inches; "width, 2iy 2 inches 

Three-quarter figure of the Virgin, seated in a landscape, directed to left ; 
blue dress, white neckerchief and head-dress, scarlet-hooded cloak, with nar- 
row border of gold ; nude Infant on her lap ; trees to right, background, 
houses and stretch of blue-peaked hills. 
Transferred from panel to canvas. 

From the sale of the Chigi Gallery, Siena, 1857; and the Collection of 
Charles Butler (Warrenwood), No. 47 in the sale catalogue, where it is 
ascribed to Filippo Lippi. 



No. 29 
GIROLAMO MAZZOLA (BEDOLI) 

School of Parma; 1500-1569. Developed under the influence of Correggio and 
Parmigianino. 

MARRIAGE OF ST. KATHEBINE 

Canvas: Hciglit, '22 inches; length, 27 inches 

An interior with five figures. To left the Virgin seated, in red and 
white drapery and flowing blue cloak; the Infant in light drapery on her lap, 
looking up towards her and placing the ring on the finger of St. Katherine, 
who is on the right in brown and red dress, her left hand on a large wheel; 
through a doorway in the center two ciders are seen; blue curtain to right. 
Transferred from panel to canvas. 

A characteristic specimen of the post-Correggicsquc Parma School. 



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No. 30 
FRANCESCO BISSOLO 
VIRGIN AXD CHILD 

Canvas: Height, 27 inches; width, 21 inches 

The Virgin, seatecl to front in a landscape, red dress, blue cloak, white long 
head-dress, hands folded as in prayer; the Infant slightly covered asleep across 
His Mother's lap, head resting on His right hand: to left a bird perched on 
a twig, church and hill in distance, to right building and figures. 

Although overcleaned the picture has still a soft charm. 



No. 31 
PALM A VECCHIO 

Venetian School; 1480-1528. Pupil of Giovanni Bellini; influenced by Gior- 
gione and Lotto. 

HOLY FAMILY AND ST. KATHEKINE 

(Panel) 

Height, 26 inches; length, 38 inches 

Half-figube of the Virgin, seated in the center under a green curtain 
canopy; red dress with white loose head-dress and blue eloak, holding the 
Infant in slight gold drapery; to left, St. Joseph in blue and yellow eloak; 
to right, St. Katherine in scarlet dress and green eloak, holding pen in right 
hand. 

From the Munro of Novar Sale, 1878, No. 70; and Charles Butler Collection, 
1911, No. 100. 

Described by Dr. Waagen, "Art Treasures of Great Britain," II, 184. 



No. 32 
BERNARDINO Bl TT1NONK 

Milanese School; circa 1436 — after 1507; developed under the influence of 
Vincenzo Foppa, working together with Bernardo Zenale. 

ST. JOHN AND ST. LAWRENCE 

(Panel) 

Height, 47% inches; width, 19 inches 

Two whole-length figures, standing, St. John the Evangelist, in green 
dress and scarlet cloak, holding gold chalice in right hand and inscribed 
open book in left ; St. Lawrence to left in white and brown robes elaborately 
embroidered with scroll designs and enriched with precious stones; holding 
in right hand a palm branch, and in left a gridiron; on floor in foreground 
two volumes on which is perched an eagle. 

From Dowdeswell and Dowdeswell. Reproduced in "The Burlington Maga- 
zine,''' 1904, Vol. IV, facing p. 93; mentioned in the "Allgemeines 
Lexicon der bildenden Kiinstler," Vol. V, p. 30. 

A wing of a large altarpiece. 



No. 33 
ANTONIO BADILE 

School of Verona; 1517-1560. Pupil of Carotto; influenced by Torbido, 
Brusasorci and Paolo Veronese. 

PORTRAIT OF A LADY 

Canvas: Height, 4-8 inches; 'width, 40 1 _ L > inches 

Three-QUARTEB length of stout middle-aged lady, standing slightly to left, 
nearly full face; black low dress almost entirely covered with silver embroid- 
ery, the corsage with white and gold horizontal stripes, white sleeves with 
small gold spots, white chiffon over shoulders; pearl necklace and earrings, 
golden hair dressed flat and with pearl ornaments; gold bracelets, right hand 
resting on pet dog which is standing on red covered table, left hand on hip; 
distant landscape through portico to left, gray background. 

Exhibited: Burlington House, London. 18S4, No. 157 {Frederick IP. Fairer), 
•when it was "attributed to Paolo Veronese." 

A beautiful and important picture of tin- leading master of the Verona 
school about the middle of the sixteenth century. It shows close affinity of 
style with Badile's two portraits in Vienna. 



No. 34 
ERSDI 1)1 BONIFAZIO 

Pupils and assistants of Bonifazio <li Pitati (1467-1553), carrying on his 

workshop even after his death. 

THE RESURRECTION OF LAZARUS 

Canvas: Height, 52 inches; length, .'}(> inches 

Group of nine figures, some of which are only partly visible. Lazarus being 
raised from the sepulchre, woman in bright yellow costume, kneeling. 

Portion cut out of a larger composition. 



No. 35 
BATTISTA ZELOTTI 

School of Verona; ahout 1532-1592. Pupil of Badile; influenced by Paolo 
Veronese. 



HISTORICAL SCENE 

Canvas: Height, 75 inches; length, 95 inches 

A victorious military commander surrounded by five allegorical female 
figures in classical costumes. The central figure, a middle-aged man with 
short beard, in armor, with pink cloak around neck and on left leg, a baton 
held by both hands; the figure on the left holding jar of golden coins; the 
others are apparently presenting a carved wood scroll-shaped tablet with 
inset of a miniature of a young woman; a laurel wreath is on the ground; 
pillar and wall background. 

A large decorative composition by this clever imitator of Paolo Veronese. 



No. 36 
G-IBOL.AMO DA TREY ISO 

Venetian School; 14-97-15-t-i. Son and pupil of Pier-Maria Pennacchi; influ- 
enced by Giovanni Bellini. 

MADONNA AND CHILD 

(Panel) 
Height, 58 inches; width, 24 ! -j inches 

Whole-length of the Madonna, enthroned in a niche, to front; brown 
dress, richly embroidered with conventional design in red, white head-dress, 
bine and green cloak; nearly nude Infant seated on His Mother's lap, hold- 
ing a fi^' in left hand, right hand upraised. 
In Venetian tabernacle of the time. 

Signed on a tabic at foot of picture: HiKKowMis Tahviso P. 



LATE ITALIAN SCHOOLS 

Seventeenth and Eighteenth Centuries 



No. 37 
GIOVANNI BATTISTA PIAZZETTA 

Venetian School; 1682-17-15. Pupil of Molinari. 

LAUGHING GIRL 

Canvas: Height, 20 inches; width, IT inches 
Bust of a laughing girl in Dutch-like costume; greenish tone. 



No. 38 
GIOVANNI DOMENKO TIEPOLO 

Venetian school; 1720 — after 1770. Son and pupil of Giov. Batt. Tiepolo. 

PORTRAIT OF AN OLD MAN 

Canvas: Height, 22 inches; width, 10 inches 

Head and shoulders of an elderly man (probably a Jewish dignitary) in 
Oriental costume, brown-lined fur coat with high collar, reddish turban- 
like cap, red belt with cameos around chest; right hand holding belt. 

Exhibited at the "Mostra del Ritratto Italiano," Florence, 11)11, No. 101. 
(Prof. Emilio Constantmi.) 



No. 39 
GIULIO CESARE PROCACCINJ 

Bolotjncse School; 1548-1625. Son and pupil of Ercole Procaccini; influ- 
enced bv Correffffio. 



--^ 



"S I BILL A PERSIC A" 

Canvas: Height, 28 inches: width, 23 indies 

Head and shoulders, life size, to front, head inclined to right; bluish low- 
dress, long brown hair falling over her shoulders, blue and white head-dress ; 
in left hand open volume inscribed on the edge "Sibilla Persica," in right hand 
a pen which is being guided by an attendant angel leaning on her right 
shoulder. 



No. 40 
LUC A CAMBIASO 

School of Genoa; 1527-1.585. Son and pupil of Giovanni Cambiaso; influ- 
enced bv Spanish art. 

MADONNA AXD ST. JOHN 

(Panel) 

Height, 29 1 •_> inches; length. 23 1 ^ inches 

Small three-quarter length of the Virgin, seated to right, directed to left; 
dull red dress with yellow sleeves, blue cloak on lap, holding the Infant ; St. 
John to right, ruins to left. 



No. 41 
GIOVANNI BATTISTA PITTONI 

Venetian school; 1687-1707. Pupil of Francesco Pittoni; strongly influenced 
by G. B. Tiepolo. 

THE HOLY FAMILY APPEARING TO ST. ANTHONY 

Canvas: Height, HI inches; width, 21 indies 

Group of eight figures. St. Anthony of Padua kneeling and holding staff, 
near a balcony; the Virgin, St. Joseph and four youthful angels appearing 

in the clouds; the St. Esprit in the form of a dove to right. 

A clever imitation of Tiepolo but technically inferior. 



No. 42 
MICHELE MARIESCH1 

Venetian School, about 1700-1743. Pupil of and imitator of Canaletto. 
VIEW OF THE Gli A XI) CANAL 

Cam-as: Height, 27 inches; length, 46 inches 

A broad view of the Grand Canal, Venice, with numerous boats and the 
Rialto. 

A very fine work of this clever Canaletto pupil. 



No. 43 
LICA GIORDANO (called FA-PRESTO) 

Neapolitan School; 1632-1705. Pupil of Ribera: influenced by Pietro da 
Cortona. 



THE HOLY FAMILY 

Canvas: Height, 37'^ inches; length, 40 inches 

To left three-quarter figure of the Madonna in red, bine and white 
draperies, her hands pressed to her bosom, gazing towards the lightly clad 
Infant on the right ; His left arm encircling a wood cross ; in the center St. 
Joseph in brown dress, holding staff. 



No. 44 
FRANCESCO SOLIMEXA 

Neapolitan School; 1657-1747. Influenced by Luca Giordano and the Car- 
racci. 



MARY AT THE TOMB OF CHRIST 

Canvas: Height, .'30 inches; width, 25 inches 

Group of five figures. The dead Christ extends across the picture, on 
white and scarlet draperies; three women kneeling around the body and 
weeping, one pressing His left hand to her lips; to right a child-angel is 
pointing to the reeunibent figure; on the ground to left, gold salver with 
emblems of the Crucifixion. 



No. 4;> 
CANALETTO (ANTONIO CANALE) 

Italian: 1697—1768 

CANALETTO'S CONCEPTION OF A GRAND OPERA HOUSE 
IX VENICE 

Canvas: Height, 38 inches; length, .">() inches 

A view of the Canal with the Rialto Bridge, the artist's conception of a grand 
opera house on the right: a massive two-story building with balconies and a 
dormer roof; at the main entrance a crowd of brilliantly elad people are gath- 
ered under and around a temporary canopy, apparently indicative of the 
opening ceremony; the canal is alive with gondolas and other boats; blue sky 
with fleecy clouds. 

No. 46 
TITIAN (Ascribed to) 
SUSANNAH AND THE ELDERS 

Canvas: Height, 51 indies; length, 70 inches 

An open landscape, with a nude Venus directed to right, reclining on red 
drapery, occupying nearly whole of the foreground, and looking at the re- 
flection of her face in a small mirroi which is held up by a dark-bearded 
elderly man in rich Oriental costume, and who is looking at her with a smil- 
ing expression; behind her a man in red dress and cap with gold-embroid- 
ered cloak is unfastening the band which had been placed over her eyes, 
her golden hair is plaited and a jeweled bracelet is on her right wrist; in 
the middle distance figures and sheep. 

Exhibited: Art Treasures, Manchester, 1857, No. 254; and Old Masters, 
Burlington House, 1871, Xo. 365. 

From the Earl of Dudley's Collection, June 11, 1900, Xo. 31. 



No. 47 
TIBERIO TIXRLLI (?) 

Venetian School; 158(5-1638. Pupil of Contarini and Leandro Bassano, imitat- 
ing Van Dyck and the Spaniards. 

PORTRAIT SAID TO BE FRANCESCO DE ALTAMIRA 

Canvas: Hen/lit, 81 inches; width, 51 ' L > incites 

Whole-length, life size, early middle-aged, to front, black dress embroid- 
ered with gold, large white collar extending over shoulder, white cuffs; 
dark long hair, mustache and chin tuft; left hand holding hilt of sword, 
right hand holding black felt hat; coat-of-arms in top left-hand corner, 
red curtain to riffht. 



■*->■ 



From the Marcelle von Nemes Collection, in the catalogue of which it is 
attributed to Carreno de Miranda. 



SPANISH, DUTCH, FRENCH AND 
FLEMISH PICTURES 



INTRODUCTION 

The pictures by artists of the Spanish, Dutch, French and Flemish schools, 
described in the following- pages, constitute a very varied and interesting 
feature of the Blakeslee Collection. They have been gathered in many 
lands, but chiefly in England and France, and, with a few inevitable elimina- 
tions, would form an excellent nucleus for a private or public gallery. The 
average quality is high, and many have already figured in well-known col- 
lections, notably that of the late Charles Butler, a man of wide artistic sym- 
pathies and sound judgment. A good many have only their artistic quality 
and historical associations to recommend them, for they have passed from 
their previous owners by private contract into Mr. Blakeslee's stock, either 
direct or through one of his many sources of acquisition, and nothing can be 
said as to their provenance. 

This section of Mr. Blakeslee's pictures is dominated by the great gal- 
lery work by Rubens, "The Adoration of the Magi," which came to light in 
recent years after all trace of it had been lost to students for over half a cen- 
tury. This noble picture, with its Oriental magnificence, its brilliant color- 
ing and its wealth of carefully thought-out detail, is the most important 
work of its kind by the master in the new world; and all students will re-echo 
the wish that it may find a permanent home in a public gallery, or church, 
where it will remain for all time, a lasting memorial to one of the world's 
greatest painters. The history of the picture is singularly clear from the 
time it was painted for the Church of St. Martin, Berg-Saint-Vinox (or 
Bergues, as it is now called) , some five miles from Dunkirk. The church 
was rebuilt in the seventeenth century, and still contains a number of inter- 
esting paintings; doubtless it was its "noteworthy high-altar" which this 
picture adorned until it was sold in 1766. The history of the picture 
is fully told in the "Report" of the late Mr. Max Rooses (reprinted 
in this catalogue), who made Rubens a life-study, and whose great book 
on the subject of the master and his works will remain for generations the 



standard authority. But if the picture had no history, its transcendent 
scheme, its wealth of imagination, its brilliant coloring and the care with 
which every detail is worked up into a harmonious whole would stamp it as 
the work of the master mind of Rubens. There are many interesting pic- 
tures of the Dutch and Flemish Schools, chiefly by the minor artists — "the 
Little Masters" as they are sometimes called — men who just failed to attain 
the first rank. Special mention here can only be made of a few of the pic- 
tures, and two of the earliest in the alphabetical arrangement include the 
signed group by F. Bol, which was once in the collection of a well-known 
London amateur; and a portrait of excellent quality by Jacob Gerritsz 
Cuvp, of a child, which recalls the group of three children by the same 
artist at Rotterdam, and also a child-picture in the J. Pierpont Morgan 
Collection which has so far baffled experts in their efforts to suggest the 
name of a likely painter. The history of the Van Dyck portrait of a lady 
of the Coningsby family cannot be traced further back than thirty years, 
its first recorded owner being Sir George D. Clerk, a member of an old 
and distinguished Scotch family; the portrait is of fine decorative quality. 
To the few examples of Johannes van Kessel in the United States the 
beautiful little landscape in this collection is a notable addition in which wc 
can distinguish the influence of Jakob van Ruysdael. 

There are characteristic examples of Judith Levster and X. Maes; by 
the latter there is a signed and dated portrait of a lady who docs not seem 
to have got much joy out of her life — not an uncommon feature of Dutch 
seventeenth century portraits. The Metsu "Visit to the Nursery" is one of 
the many versions which the artist and his pupils must have been called 
upon to supply: the most beautiful example of all is the Rodolphe Kami 
picture, dated 1661, now in Mr. Pierpont Morgan's Collection and on loan 
at the Metropolitan .Museum. It is curious that the present version should 
have the much earlier date of 1641. The more interesting of the two by 
Miereveld is the portrait of Marguerite van Bromkort, with her coat-of- 
arms (or more probably that of her husband) and the date 1623; and close 
to this is a capital portrait of Miereveld's pupil, Paulus Moreelse, of a 
famous patroness of the Elizabethan poets, Lucy Countess of Bedford. 



There are many portraits of this lady, but this is later than any of the others, 
and represents her as apparently much older than she would have been in 
1613. This portrait has long passed as representing the "'Sister of Sir 
Philip Sidney and wife of Sir James Harington," hut the two statements 
are contradictory, and neither can apply to this picture. By the younger 
Francis Pourbus we have a portrait of the Queen of Louis XIII. painted 
soon after she had taken up her residence in France. Another of the por- 
trait painters whose work is uncommon in the auction room. Joachim von 
Sandrart, is represented by a signed and dated example. A considerable 
amount of investigation has been devoted to fixing the exaet identities of the 
Lord and Lady Burghley who appear under Zueearo. but even so without 
conclusive success. The biographies given in the catalogue must be regarded 
as tentative. Judging from the dresses and other features, they are prob- 
ably portraits of the famous Lord Burghley's grandson and his wife, in 
which case "Lady Burghley" would not be a correct title, for the husband did 
not become Lord Burghley until his father was advanced to the Earldom 
of Exeter in "Slay 160.5 — or fourteen years after his wife's death. At the 
date of the portrait, 1.588, there was only one Lady Burghley, the wife of 
the famous Lord High Treasurer, and she died aged sixty-three in 1.581). 
This kind of confusion has often occurred in connection with family por- 
traits of which the identities have been left for posterity to establish. 

If the pictures by artists of the Spanish and French Schools do not in- 
clude any great masterpiece, there are nevertheless many excellent in qual- 
ity and of good provenance. The most important of the Spanish pictures 
is undoubtedly the Velasquez portrait of Mariana of Austria, a replica 
of the famous work at the Prado, Madrid. The French pictures are 
nearly all by artists of the eighteenth century, and, for the most part, of 
people who played a prominent part in the annals of France. The two great 
rival women portrait painters, Madame Labille Guiard and Madame Vigee 
Le Brun, are adequately represented; the former by one of the Princesse 
de Lamballe, a prime favorite of Marie Antoinette and one of the earliest 
victims of the French Revolution; and Madame Le Brun by the Comtesse 
de Verdun and a highly attractive portrait of Madame Vestris. The exact 



identity of the last named has not been made out. The Vestris family was 
a somewhat numerous one both in England and France, the most famous of 
the English branch being' a granddaughter of Bartolozzi the engraver and 
successively the wife of Auguste Vestris the dancer and Charles James 
Mathews the actor. This lady, who was born in 1797 and who lived till 1850, 
was only seven years old in 1804, when this portrait was painted, so it can- 
not represent her. It probably represents her first husband's mother. Five 
portraits and subject pictures are by N. de Largilliere, and the most im- 
portant of these is the brilliant picture of a lady of the Court of Louis XIV. 

Among the French pictures catalogued under Carle van Loo will be 
found a companion pair which appear in Mr. Blakeslee's stock as of the 
King and Queen of Austria. These titles, as students of European history 
will hardly need to be told, are manifestly inaccurate. It is not known 
whence the late owner obtained the pictures, presumably by private pur- 
chase and not at public sale. Nothing therefore is known of their provenance. 
They are obviously state portraits and probably represent Francis Duke of 
Lorraine (1708-1705), who was elected Emperor of Germany in 1745, and 
his wife Maria Theresa (1717-1780) , daughter of Charles VI, and who was 
Queen of Hungary. Both portraits, which would therefore be correctly de- 
scribed as of the Emperor and Empress of Germany, are ascribed to Carle 
van Loo, who is not known to have painted these two historical personages. 
Their state painter was Martin van Mytens (1695-1770), who was of 
Dutch origin, but who lived for many years in Vienna, where he died. His 
portraits of the Emperor and Empress, painted circa 1742, have been fre- 
quently reproduced; there are two of the former and one of the latter in 
the Szepmuveszeti Muzeum at Budapest. It is permissible to suggest that 
our two portraits may have been copied by order of Marie Antoinette, their 
daughter, for some dignitary of the French Court. 

By Van Loo also we have a portrait of the Comtesse de Beaufort en 
Snl lane: this lady was probably the "dame de qualite de Franehe-Comte" 
referred to by Voltaire in his letter to the Due de Richelieu of July 20, 
1771. and whose husband, "un des plus honnetes gentilshommes de la pro- 



vince," was accused of having killed "mi coquin de pretre." By Rigaud 
there is a fine portrait of the Due d'Antin, and another of the artist's wife. 
Two other famous French artists are represented: Louis Tocque by a lady 
playing a guitar, and J. V. de Troy by one of a lady whose name is not 
known. Later in date, but overlapping the active period of each of the two 
last named, Antoine Yestier is represented by an unusually good portrait 
of the Comtesse de la Garde. 

W. ROBERTS. 

London. 



SPANISH AND ROMAN SCHOOL 




No. 48 
B. E. MURILlLO 

Spanish: 1617—1682 



THE LITTLE SHEPHERD 



Canvas: Height, '22 inches; length, 2(5 indict 

Small whole-length figure of a little fair-haired barefooted child, seated in 
a rocky Landscape; plum-colored dress and blue cloak, holding in left hand 
a shepherd's crook; in distance to left two angels are seen guarding a flock 
of sheep. 



No. 49 
OLAUDIO COKL.LO 

Spanish: 1621—1693 

PORTRAIT OF A LADY 

Canvas: Height, 24 inches; zmdth, 15) inches 

Head and shoulders of a young Spanish lady, to front looking at spectator; 
dark mantle elaborately embroidered with gold, cream-colored sleeves only 
slightly seen, elaborate white ruff delicately edged with pink; pearl necklace 
and earrings; dark hair with thin row of curls over forehead, aigrette of 
jewels and pearls over right ear, small jeweled ornament over left ear; 
dark background. 

Collections: Arthur Seymour, 1896; and Charles Butler, May 26, 1911, 
Xo. 165. 



No. 50 
DIEGO RODRIGUEZ DE KLLVA Y VELASQUEZ 

Spanish: 1599—1660 

QUEEN MARIANA OF SPAIN 

Canvas: Height, 27l/o indies; width, 20 indies 

Daughter of Ferdinand III, Emperor of Austria; born in 1634; betrothed to 
Don Balthasar Carlos (eldest son of Philip IV), but he died suddenly in 1646, 
and she married in 1649 his father Philip IV, as his second wife; died in 1696. 

To front, black dress with broad silver stripes; face rouged, red hair arranged 
in ringlets which fall over one another regularly, each tied at the end with a 
red ribbon, the whole forming a broad mass; a long white feather (spotted 
with red) falls over the hair on her left; scalloped white collar, rich gold 
chain with pendant. 

Collections : M. Cordova, a painter at Madrid; h'iiu/ Louis Philippe, May 7, 
1853, No. 150; and Due d'Aumale. Cards, "Velazquez," No. 2436. 

A replica of the head and shoulders of the well known portrait at the 
Prado, Madrid, painted 1658-60 and described by Curtis, No. 236. 



No. 51 
FEDERIGO ZUCCARO 

Roman: 154:3—1609 

EDWARD VI {Said to be) 

(Panel) 
Height, 29 inches: width, 21 inches 

Half-figure of a thin, sharp-faced effeminate youth, standing to front and 
looking at spectator; black-patterned white dress with reddish waistband 
which apparently serves as swordholder ; black neck-chain from which de- 
pends a jewel with pearls, broad turned-down lace collar: fair hair, white 
hat with pink lining, plume of feathers and pearl ornament; right hand 
holding white gloves, left hand on hip. 



No. 52 
FRANCISCO JOSE DE GOYA Y LUCIE VI ES 

Spanish: 1746—1828 

KING CHARLES III OF SPAIN (1716-1788) 

Canvas: Height, '29 inches; width, 24 inches 

Head and shoulders of elderly man, directed slightly to right, looking- to 
left, in uniform of blue with gold facings, white waistcoat and neckerchief, 
red sash passing over right shoulder and star of an Order partly seen on 
breast; powdered wig; wart on left side of mouth; gold-headed staff' in right 
hand. 




No. 53 
CLAUDIO ( OELLO 

Spanish: 1621—1693 



^.V AUSTRIAN PRINCESS 



Canvas: Height, 32 indies; width, 26 1 ; _. indies 



Half-figure of stout middle-aged lady, to front; black dress with white 
sleeves, gray collar with broad edging of lace extending over shoulders, large 
red and black rosettes on corsage and left shoulder: pearl necklace and 
pendant; earrings of jet set in gold; dark matted hair with black head- 
dress, scarlet band, black feathers and precious stones; brownish back- 
ground. 



No. 54 
FEDERIGO ZUCCAEO 

Roman: 1543—1609 

LORD BURGHLEY 

(Panel) 
Height, 43 inches; width, 33 inches 

William Cecil Lord Burghley, son of first Earl of Exeter; by his first wife; 
born in 15(5(5; succeeded his father us second Earl in February, 1(522-3; died 
July (5, 1(510; buried in Westminster Abbey. 

Thkee-quakteb figure of middle-aged man, standing, directed slightly to 
left, looking at spectator; green dress embroidered with gold, white lace 
cuff and white broad collar, green cloak over left shoulder; golden hair, 
narrow pointed beard; right hand resting on table, left on hilt of sword. 

Formerly attributed to Sir Antonio Moro. 





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No. 55 
FEDERIGO ZUOCAKO 

Roman: 1543—1609 
LADY BURGHLEY (?) 

(Panel) 

Height, 35 inches; width, 28 incites 

Elizabeth, Baroness de Roos, daughter and heiress of Edward (Manners), 
Third Earl of Rutland; married, as his first wife, Wiliam Cecil, afterwards 
Lord Burghley; died in May, 1591 ; buried in Westminster Abbey. 

Half-figure to front of thin-faced lady; white skirt with black-patterned 
over-dress with puffed sleeves and gold head-like ornaments, wedge-shaped 
corsage, white .stiff* lace-trimmed collar, black bead-like pearls at neck; pen- 
dant with pearl and precious stones and inset with cameo of woman and 
child fastened on left shoulder with red ribbon; long gold chain of many 
rows, gold bracelets, black and white reflexed cuffs; right hand holding pink 
flower, gloves in left; red hair massed over ears and with black head-dress 
at hack, pearl earrings. 

Inscribed in gold letters at top right hand corner: .Ktatis sue 22 an 1588. 

This and the preceding portrait are referred to in Mr. Roberts's Introduction. 



No. 5Q 
Jl AN T>. DEL MAZO .MAIM INEZ 

Spanish: 1610—1687 
PORTRAIT OF A YOUNG LADY 

Canvas: Height, 49 inches; length, J3<> 1 ■_» inches 

Thkee-quarteb length, about twenty, standing, directed to left, Looking at 
spectator; black dress almost entirely covered with silver embroidery, white 
lace collar with blue ribbon, pearl and jewel necklace: black hair falling 
over ears, with pearl ornament: right hand holding bunch of red roses, left 
hanging down by side, ring on penultimate finger of each hand: dark gold- 
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No. 57 
JUAN PANTOJA DE LA CRUZ 

Spanish: 1551—1(509 



THE INFANTA ISABELLA EUGENIA CLARA, GOVERNESS 

OF THE NETHERLANDS 



Canvas: Height, 75 inches; width, 41 ' ■> inches 



Daughter of Philip II of Spain; born in 1560; married the Archduke Albert : 
Governess of the Netherlands from 1598; a patron of Rubens; entered the 
monastic order of St. Clara; died in 1033. 



Whole length, about thirty, .standing' to front ; long black cloak richly lined 
with red, creamy white circular lace collar and cuffs; golden hair dressed 
flat in compressed plaits, white feather at back; right hand resting oh red- 
covered table, a six-row gold and red bead bracelet on wrist; left hand rest- 
ing in a gray lace scarf sling and holding white gloves with red borders; 
green curtain background. 



Collections: The Duke of Marlborough (it Blenheim, until 1880; and Charles 
Butler, May 26, 1911, No. 107. 

Sir George Scharf, "Catalogue Raisonne" of tlic Blenheim pictures, 1802, 
p. 10. 



No. 58 
JUAN B. DEE MAZO MARTINEZ 

Spanish: 1610—1687 

PORTRAIT OF A SPANISH PRINCESS 

Canvas: Height, 55 inches; width, 42 inches 

Three-quarter length, age about twenty, to front, black dress with green- 
ish under sleeves elaborately embroidered with gold, oversleeves and shoulder 
studded with pearl-like ornaments ; pearl necklace and bracelets, long neck- 
ehain of precious stones with ruby and emerald brooch at side, center of 
corsage with pointed rosette of precious stones; black hair in plaits, with 
band of pink ribbon and pearl ornament; right hand holding fan, left on 
red-covered chair, red curtain to left and right. 



No. 59 
ALOXSO SANCHEZ COKLLO 

Spanish: 1515—1590 

ANNE OF AUSTRIA, WIFE OF PHILIP II OF SPAIX 

Canvas: Height, 78*2 inches; ■width, 42 1 /. inches 



Daughter of the Emperor Maximilian of Austria; born in 1549; married at 
Segovia in 1570, as his fourth wife, her uncle Philip II of Spain; died in Oc- 
tober, 1580. 



Whole length, when young, standing, directed to front : white dress richly 
patterned and embroidered with row of six curious bifurcated designs ( ap- 
parently fasteners), the narrow wedge-shaped corsage richly ornamented 
with precious stones, pendant at bosom; long two-row pearl necklace, white 
lace cuffs and starched ruffle, pearl earring, fair hair with small brown cap 
and white rosette; right arm leaning on red chair holding partly opened 
volume in hand, left holding lace handkerchief. 

Exhibited : Guildhall, London (Spanish art), 1901, No. 57. 
Collections: Prince Esterhazy; and Arthur Sanderson, June, 1911. 



DUTCH SCHOOL 



No. 60 
JACOB WLLLEMSZOON DELFF 

Dutch: 1619—1(5(31 

MA HI A JACOB VAN BE WOOT 

(Panel) 
Height, 19 inches; width, 1(5 inches 

Head and shoulders of elderly thin-lipped woman, to front looking at spec- 
tator; black-patterned dress, large starched circular ruff; dark hair with 
elose fitting slight black head dress. 

A portion of the artist's initials "W. I)." 1 interlaced is seen on the left 
hand side. The name of the personage is inscribed on the back of the panel 
but is now difficult to decipher. 



No. 61 
WILLEM WISSIX(; 

Dutch: 1(556—1687 
PORTRAIT OF ENGLISH NOBLEMAN 

(Panel) 

Height, 12yo incites; width, IOI4 inches 

Small bust of a young man, directed slightly to left, looking at spectator, 
in armor with white linen collar, long golden hair falling on shoulders. 

Collection: Henry Doetseh, June, 1895, No. 200. 

No. 62 
JAN YEESPEONCK 

Dutch: 1597— 1662 ' 

THE TOPER 

Canvas: Height, 28 inches; width, 23 inches 

Half-figure, facing right, of elderly man smiling and leaning back in his 
chair ; brown dress, black cloak over left shoulder, white cuff and white broad 
flat collar, large black felt hat, slight mustache and chin tuft, holding in 
right hand goblet nearly full of liquor; medallion in sash; green back- 
ground. 

The initials, "F. H.," entwined on left, form the signature of Frans Hals, 
to whom the picture was formerly attributed. It appears to be a variant of 
"The Toper" (a much smaller picture), described in C. Hofstede de Groot's 
edition of Smith's "Catalogue" infra Hals, Vol. Ill, No. 65. 



No. 63 

GERARD PIETERSY VAN ZYJ, 

(Grherard van Ley den) 

Dutch: 1606—1667 

PORTRAIT OF A NUN 

(Panel) 

Height, 18 inches; width, 12l/> inches 

Small three-quarter length of middle-aged lady, standing to front, in nun's 
costume, black cloak with white cuffs and broad stiff white double collar, 
black cap with reflexed brims; fair hair; mauve curtain and distant land- 
scape background. 



No. 64 
8LGMUNI) HOLREIX 

German : 1 465-70—1540 

PORTRAIT OF A LADY 

(Panel) 

Height, 2'.i inches; width, 17 inches 

Small half-figure to front, black dress, red sleeves, white collar cut square 
over shoulders and edged with red, dark hair with white hood; gold waist 
chain, white cuffs; hands clasped, holding a pink; gray background. 

Inscribed at top to right: 2ETATIS SUM. 19. 

Collection: Camillc Marcille, 1876 (as bi) H. Holbein). 




No. 65 
JUDITH LEYSTER 

Dutch: 1600—1660 

YOUTH WITH CAT 

Canvas: HcigJtt, 2-t'j ^_> indies; width, 23 inches 

Half-figure to front of red-faced peasant boy in brown coat, green 
breeches and red hat with black feather, leaning back and smiling, holding 
in right hand a piece of cake, and with the other fondling a small black 
kitten which is looking unconcernedly out of the picture; gray background. 

From an anonymous sale at Christie's, June 20, 1913, Xo. 61. 



No. m 

LUCAS CRANACII 

German : 1472 — 1553 

THE JEWELER'S DAUGHTER 

Height, 30 inches; width, 23 inches 



Half-figure of a young woman about twenty-five, directed to right looking 
at spectator; scarlet and gold embroidered low dress; carrying with both 
gloved hands a tray with open jewel case showing pearl necklace, pearl 
and jeweled belts, and antique cameo; close-fitting head-dress with white 
feathers, red cap perched jauntily on side of head; three rows of necklaces 
with pearls and jewels; blue curtain background. Canvas transferred from 
panel. 

Signed at toj> left hand corner with the artist's crest: ;i flying 
dragon with a crown upon its head. 



No. 67 
CORXEL.I8 JAN8SENS 

Dutch: 1593—1664 
PORTRAIT OF MAN WITH LACE COLLAR 

Canvas: Height, 29 inches; width, 2 -A inches 

Head and shoulders of young man, to front, looking at spectator ; black-em- 
broidered dress over white vest (or shirt), elaborate lace collar covering 
shoulders; masses of black hair falling over neck, slight mustache and chin 
tuft; gray background. 

Signed with initials and dated m lower left hand corner: C. J. fecit 1635. 

From an anonymous sale at Christie's, July 12, 1912, So. 16. 



No. 68 
GABRIEL METSU 

Dutch: 1(515—1658 

A VISIT TO THE NURSERY 

Canvas: Height, .'30 inches: length, li\ inches 

An interior with six figures. The mother seated to right, her f'aee seen in 
profile, in white dress, red dressing jacket and white cap, holding the infant 
in yellow swaddling clothes on her lap. Standing by her side, her husband, 
dressed in gray large puffed shirt-sleeves, long wig, large felt hat in his 
right hand, is welcoming the visitor, an elderly lady in blue and black velvet 
dress, black laee shawl, holding a fan and accompanied by a little dog. The 
visitor is followed by a servant woman carrying a chair in her left hand, 
and a little box in her right; in front of the fireplace and leaning her right 
arm over the cradle is the elderly nurse in black. A fireplace with a Renais- 
sance chimney-piece, over which hangs a large sea picture, occupies the 
center of the background; to right a blue and gold bedstead, table with 
Oriental cover, on which are a basin, ewer, etc.; the stone floor of black and 
white marble slabs, with red carpet. 

Signed and dated over doorway to left: G. Mktsi*. 164)6. 

Collections: Madame de Falbe, Mail 10, 1000, No, 10(5; and Lesser Lesser, 
February 10, 1012, No. 75 (Hofstede de Groat, So. 110). 

One of several versions of the picture described in Smith's "Catalogue," 
No. 10; and by !)»• Groot, No. 110, which version, however, is dated 1(5(51. 



No. 69 
DANIEL MYTENS 

Ditch : Died 1656 

PORTRAIT OF A GIRL 

Canvas: Height, Jil inches; width, 25' L > inches 

Three-quarter figure of a little girl, about seven or eight, standing by a 
balcony*, directed to right, looking at spectator; white satin low dress with 
jewel at center of bodice, jeweled bracelets; golden curly hair with pearl 
band, pearl necklace, both hands holding wreath of flowers; scarlet curtain 
and pillar to left, distant landscape to right. 



No. 70 
COS WIN VAX DEB WEYDEN 

Dutch: 1465^1538 

FAMILY OF THE VIRGIN 

Canvas: Height, 38 inches; width, 26^ inches 

Interiob with six figures. To right, St. Joseph a middle-aged bearded 
man in blue dress, ermine shoulder cape, scarlet hat and yellow boots, 
looking, with bands upraised, towards the youthful seated Virgin, who is in 
scarlet dress and gold-embroidered cap and is reading from a Hook of 
Devotions. The four children carry the emblems of their future callings, 
the youthful Christ has his cross, the carpenter his saw, the architect his 
rule and the blacksmith his hammer; background gray wall with open 
window (over which are two carved trumpetcers and scalloped shell), show- 
ing houses and distant hills. 

Exhibited at Charleroi, 1911. 




No. 71 
JOACHIM VON 8ANDKAKT 

Dutch: 1606—1688 

PORTRAIT OF A LADY 

Canvas: Height, 35 incites; width, 26% inches 

Half-figure, about thirty, directed to left and looking at spectator; bluish 
black low dress with red bodice, short sleeves with broad white cuffs; three- 
row pearl bracelet on left arm, which is raised, tbe hand holding pearl and 
jeweled pendant at breast, broad white crossover, two-row pearl necklace; 
long golden hair falling over shoulders, small scarlet pearl-trimmed cap at 
back of head. 

Signed and dated to left in black letters, J. Sandrart, f. 1643. 

Collection: Charles Butler, May 26, 1911, No. 212. 



No. 72 
JACOB GERRITSZ CUYP 

Dutch: 1575—1649 



PORTRAIT OF A CHILD 



Canvas: Height, .'}(> inches; width, 28 inches 

Small whole-length figure of six or seven, standing to front in the open, 
looking at spectator; dark red dress, black bodice, white apron, broad white 
collar fastened with yellow bow; fair close-fitting white cap edged with lace 
and gold-enibroidered hand, red coral bracelets; right hand holding posy 
of flowers; straw basket suspended from left arm; background castellated 
buildings, partly in ruins, and gray cloudy sky. 

From an anonymous collection at Christie's, June 7, 1912, No. !)(). 



No. 73 
JACOB A. BACKER 

Dutch: 1(508-9—1651 
MAN WITH PES IX HAND 

Canvas: Height, 35' L . inches: width, 29 inches 

Half-figure of middle-aged man (apparently a Jewish rabbi) seated at a 
red-covered desk, to front, looking seriously to left as if solving a mental 
problem; dark dress and fur overcoat, gold neck-chain; brownish beard, 
black cap, right arm resting on open book on desk holding pen in hand, left 
hand clenched on lap, ring on last finger; gray background. 

Painted under the influence of Rembrandt. 

No. 74 
MICHIEE J. VAN MIETiEYELD 

Dutch: 1567—1641 

LADY WITH RUFF 

(Panel) 

Height, 39 inches; width, 30 inches 

Three-quarter length of a good-looking young Dutchwoman of quality, 
standing, directed to left, looking at spectator; dark greenish patterned 
dress embroidered with gold, white refiexed cuffs, large circular starched 
ruff, white linen and lace head-dress; dark hair; a ring on the penultimate 
finger of each hand, the right resting on arm of chair; to left table with 
gilt-edged Bible with silver clasps; greenish background. 

Dated in gold letters at top right-hand corner: ^Etatis 30, 1631. 

From an anonijmous sale at Christie's, Jul// 5, 1902, Xo. 128, where it is 
ascribed to X. Elias. 



No. 75 
FERDINAND BOL 

Dutch: 1611—1681 

LADY AND TWO CHILDREN 

Canvas: Height, 41 inches; width, li'2 inches 

Three-QUARTEB figure of young woman under thirty, seated, directed to 
left, looking at spectator; green dress cut square and embroidered with gold. 
white insertion at elbow and white cuffs, left hand on lap; fair hair, black 
and gold head-dress with long streamers; younger child in green and gold- 
embroidered dress, white cap and collar, seated on its mother's lap, holding 
a basket of grapes in one hand and offering with the other a bunch to its 
mother; the elder child in gold dress and red cap standing by its mother's 
side and holding ribbons; gray background. 

Signed and dated in gold letters in lower right hand corner {the 
F. li. intertwined), V. Hoi., 1655. 

From an anonymous sale at Christie's, June "20, 1913, No. 111. 




LAX DSC APE 



No. 76 
JOHANNES VAX KESSEJL 

Dutch: 1648—1698 



Canvas: Height, 33 inches; length, -16 inches 



A broad stretch of rich summer irregular landscape, the center of the pic- 
ture occupied by low-lying lands through which passes a canal or lake with 
boats; in the foreground red-tiled cottages, a herd of cattle, and a cavalier 
passing towards a rustic bridge, and in the distance a cornfield with sheaves 
of corn; to right the undulating landscape ends in a deep sandy cliff. 

Collections R. Wynne Williams, February, 1863: and anonymous owner, 
April 25, 1913. 



No. 77 
NICOLAES MAES 

Dutch: 1632—1693 

PORTRAIT OF A LADY 

Canvas: Height, -i-1 inches; width, 33 inches 

Three-quarter length of middle-aged thin-faced lady, to front; low white 
satin dress, short sleeves, pearl pendant at center of corsage and on left 
sleeve; fair curly hair in ringlets falling on shoulders and with pearl orna- 
ment; pearl necklace and drop earrings; right arm resting on ledge of rock, 
left hand in tiny stream of water which falls from the rocks. 

Signal and dated on rock to left, N. Maes, 1(570. 

"Purchased from Messrs. Sidle// & Co., London. 



No. 78 
NTCOliAES MAES 

Dutch: 1(532—1693 

FAMILY GROUP 

Canvas: Height, 36 inches; width, 28 inches 

Three small whole-length figures on a balcony. The middle-aged full- 
faced husband, in blue dress, yellow cloak, white large cuffs and long wig, 
standing to right; left arm leaning on sculptured flower vase and holding- 
baton in hand. The wife, a young woman, seated to left in white low dress 
with pearl and jewel pendant at center of corsage, red cloak across shoul- 
ders and on lap, the end held in right hand ; dark curly hair with pearl rope, 
pearl earrings and necklace ; left hand holding child's right arm, on the hand 
of which a bird is perched; the child, in pink dress and red felt hat with 
white feathers, is by its mother's side; red curtain, building and trees to 
left, distant landscape to right. 



No. 79 
MICHIEL J. VAN MIEREVELD 

Dutch: 156T— 1641 

MARGUERITE VAN BROMKORT 

(Panel) 

Height, 4-8 1 ■_> inches; width, 33^ inches 

Tiikee-quakter figure of a young lady of quality, directed to left and 
looking at spectator; dark gray dress with elaborately embroidered corsage 
which ends in a broad tongue-shape flap ; long white lace cuffs, gold brace- 
Lets, red and gold gloves held in right hand, on the index finger of which is 
a large ring; black hair with pearl and gold ornament, stiff high lace head- 
dress, broad white lace ruffle, long gold neck-chain of many rows, with center 
piece of ruby and emeralds; green background. 



With coat-of-arms, name of personage anil date, 1(>"2.'{, at top left 
hand corner. 



No. 80 
SALOMON DE KOKINCK 

Ditch: 1609—1668 

SOPHONISBA 

Canvas: Height, 58 inches; length, 65 inches 

Interior with four figures. Sophonisba to left in white satin low dress and 
rich red and old gold cloak; fair hair with pearl rope; left hand holding 
handkerchief and looking apprehensively towards a dolphin-shaped golden 
urn, which is held up by a man in a demi-suit of armor, and of which au 
old woman is lifting the lid; beside her is a weeping servant woman; portico 
to right, dark green curtain to left. 



No. 81 
MICIIIEL VAX MtTSSCHEE 

Dutch: 1645—1705 

THE CONCERT 

Canvas: Height, 54 inches: length, 57 inches 



A spacious hall with three small whole-length figures. The gentleman 
to right in black dress with white cuffs, tasseled neckerchief and long hair 
(or wig) is seated on a wood chair playing a violoncello; to left the lady 
in white low satin dress with ruby and other ornaments, and blue shawl, 
is encouraging a pet dog whose fore-paws are on her lap; in the center is a 
table with dessert and decanters of wine, and a serving maid holding a dish 
of oranges; gray and white slate floor; to right trees and house, pillar and 
dark curtain to left. 

Signed and dated on lower end of pillar to left. M. V. MrssoHER, 
Pixxit A". 1671. 

Illustrated and described in ('. Sedelmeyer , .s "Second Hand red of Paintings by 
Old Masters," in 181)5, p. 28. 





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No. 82 
PAITLUS MOREEJLSE 

Dutch: 1571—1638 

LUCY HARINGTON, COUNTESS OF BEDFORD 

Canvas: Height, 43 inches; width, 32 1 U incites 

Eldest daughter of John, first Lord Harington ; married, in 1594, Edward, 
third Earl of Bedford; died May 31, 1627. The Countess was a great patron 
of poets, notably Dr. Downe, Ben Jonson, Drayton and Daniel, all of whom 
wrote verses in her praise. The Duke of Bedford owns her portrait by Hon- 
thorst, and two others by unknown artists. 

Three-quarter length of elderly thin-faced lady standing to front and 
looking at spectator; black dress with elaborate garniture of large black 
heads, white cuffs and large white lace ruff, brown hair with small black cap, 
black earrings, locket with pearl pendant at breast ; left arm resting on back 
of red chair, right hand holding fan ; dark red curtain background. 

Dated in silver letters at top right hand corner, 1613. 
Collection: Charles Butler, May 26, 1911, Xo. 199. 



EARLY FRENCH SCHOOL 



SECOND NIGHT'S SALE 

THURSDAY, APRIL 22, 1915 
IN THE GRAND BALLROOM 

OF 

THE PLAZA 

FIFTH AVENUE, 58th to 59th STREET 

BEGINNING PROMPTLY AT 8.15 O'CLOCK 



No. 83 
MADEMOISELLE J. PHILIBERTE LFJHHX 

Fkench: Late Eighteenth Centukx and until 1815 
GIRL ASLEEP 

Canvas: Height, 18 inches; width, 14 inches 

Gkeuze-like head of a young girl in white dress and blue sash, her head 
leaning to right on the edge of a blue sofa. 

Mademoiselle Ledoux \v;is the "eleve cherie" of Greuze; authentic examples 
of her work are exceptionally rare. She approached .so nearly to her master 
that most of her pictures have long - passed as by him. 



No. 84 
MADEMOISELLE J. PHILIBEKTE LEDOUX 

Fkench: Late Eighteenth Century and until 1815 

GIRL LISTENING 

Canvas: Length, 18 inches; width, l-iV« inches 

Another Greuze-like picture of a young girl, to front, with her ear to the 
keyhole of a door ; white dress, black satin shawl loosely tied across shoul- 
ders ; right bosom uncovered ; golden hair with rope of pearls. 



No. 85 
MADAME YIGEE LE BR UN 

French: 1755—18-12 
COMTESSE BE FEB DUX 

Canvas: Height, 25 inches; width, 20 incites 

Probably Pulcherie Tranquille de Lannion, daughter of the Comte de Lannion; 
married in February, 17(5(5, ('harks Armand Marquis de Pons en Saintonge, 
into whose branch the title of Verdun appears to have developed. The 
Marquise de Pons appears in the list of "Dames pour accompagner Madame" 
in the "Almanach Royal" of 17SS, by which time apparently her husband bad 
succeeded to the Marquisate. 

IIau -FKaKi:, under thirty, to front, Looking at spectator; low white dress; 
red laced bodice and red shoulder straps; powdered hair, yellow straw hat 
with blue ribbons and posy of flowers. 

Collection: Eugene Kraemer, Paris, May, 11)1.'}, No. 52 (with an illustration). 

The Comtesse de Verdun sat to Madame Vig£e Le Brun several times, in 
1776, 177J), and again (with her family) in 1780. 



No. 86 
FRANCOIS BOUCHER 

French: 1703—1771 

AMORIN1 

Canvas: Height, 24- inches; lengths 28 ' ■_. inches 

Three amorini on clouds, one of whom is weaving a wreath of Mowers around 
the miniature of a child; blue drapery; a jewel box, arrow ease and two 
doves are among the accessories; Cupid to left holding an arrow. 



No. 87 
X. B. LEPICIE 

French: 1735—1784 

HEAD OF A YOUNG GIRL 

Canvas: Length, 24 incites; width, 18 inches 

Greuze-like head of a young girl, to front, looking to left, blue striped 
white low dress; golden hair, white mob cap with blue ribbon. 



No. 88 
NICOLAS 1)E LARGIULIEKE 

French: 1656— 1746 

VICOMTESSE BE NAKBONNE-PELET 

Canvas: Height, .'JO 'niches; width, 25 inches 

Half-figure of a young lady, standing, looking at spectator ; low blue dress 
edged with gold, white insertion and spray of red flowers at bosom, brown 
patterned rococo-shaped corsage with pearl pendant and row of black beads; 
scarlet flowing cloak fastened on left shoulder with pearl and jewel brooch; 
powdered hair bound with blue ribbon and with pearl ornament; trees in 
background to left and right. 



No. 89 
JEAN KAOUX 

French: 1677— 1734 

PORTRAIT OF A LADY 

Canvas: Height, 31 inches; width, '2i incites 

Half-figure of attractive looking lady, about twenty, seated, directed to 
left, looking to right, full face; brown low dress embroidered with gold and 
with white insertion at corsage, white starched ruff and cuffs; golden hair 
with black cap and blue and yellow feathers; hands resting on lap, the 
right holding a sealed letter. 



No. 90 
PIERRE MIGNARD 

French: 1610—1695 

LADY WITH A DOG 

Canvas: Height, 33 inches; width, 27 inches 

Half-length of a middle-aged lady, seated with King Charles spaniel on 
her lap, by a clump of trees, to front, head turned slightly to left, looking 
at spectator; white low dress, short sleeves, red and gold patterned over- 
dress with pearl and jewel fasteners, blue shawl across shoulders, one end 
on lap; fair curly hair with pearl band, pearl drop earrings, pearl necklace, 
three pearl bracelets on each wrist, the right having also a black ribbon 
bracelet set with jewel; distant landscape to left. 



No. 91 
LOUIS TOCQUE 

French: 1696—1772 

MADAME DE LA MARTELIERE 

Canvas: Height, 39 inches; width, 31 inches 

Three-quarter figure, seated on a wood chair, to front, playing a guitar ; 
bluish white low dress, with short lace-trimmed sleeves, elaborately garnished 
with various colored immortelle flower heads ; powdered hair with pearls and 
flowers ; gray-blue background with sculptured terra-cotta vase to left. 

Signed and dated in black letters at foot of -case: Tocqtje, 1752. 

The name is probably an error for "de la Mazeliere." 



No. 92 
ANTOINE VESTTER 

French: 1740—1824 

COMTESSE BE LA GARDE 

Canvas: Height, .'55 inches; width, 28 inches 

Half-figure, about twenty-three, seated on red upholstered chair, to front, 
looking at spectator; green low dress with wide skirt, narrow long bodice, 
short sleeves with white frills, white fichu, how of gray ribbon at center of 
corsage; powdered hair dressed high, a broad curl falling on each shoulder, 
bound with slate colored ribbon and ornamented with white feather and red 
rose; hands on lap, left holding two roses; gray background. 



No. 93 
NICOLAS DE LARGLLLIEKE 

French: 1656—174(5 

AMPHITRITE AND ATTENDANTS 

Canvas: Height, 35 inches; length, 4!)' ■_■ inches 

The wife of Xeptime in slight draperies of white, blue and red, riding on a 
Dolphin, with attendants including Cupid holding torch; to right on the 
rocks is a figure playing a flute. 

Collection : H. M. W. Oppenhevm, London, June, 1913. 



No. 94 
MADAME VIGEE EE BKUN 

French: 1755—1842 
MADAME VESTRIS 

Canvas: Height, 35^ inches; width, 28 inches 

Half-length, about twenty-five, walking in the open to left, looking to 
right; white bodice edged with gold, short sleeves, flowing blue robe em- 
broidered with gold, the end held in left hand, right hand resting on left 
arm; red coral necklace, ruddy hair over forehead and flowing in the wind 
at back of neck, bound with red and golden ribbon ; sunset background. 

Signed and dated in lower left hand corner: L. E. ViGEE Lebrun, 
1804, a Londres. 

Exhibited : Portraits de Fannies et d'Enfants, Paris, 1897. Described and 
illustrated in Sedelmeyer's "Fourth Hundred Paintings by the Old Mas- 
ters;' 1897, No. 74. 

Collections : I). H. King, New York-, 1905; and "./ Gentleman;' London, 
May 15, 1908. 



No. 95 
NICOLAS DE EAKGILLIEIIE 

Fkexch : 1656 — 1716 

VERTUMNUS AND POMONA 

Canvas: Height, 37 inches; length, 49 1 L > inches 

Pomona in blue, white and yellow classical draperies, seated on a bank, with 
gardening implements, pointing with the left hand to a group of fruit; on 
the right Vertumnus in the guise of an old woman, in red robe and green 
head covering, is directing the attention of Pomona to an elm entwined with 
a grape-bearing vine; to left conservatory, to right blue sky and hills. 

Collection: H. M. W. Oppenheim, London, June, 1913. 



No. 96 
NICOLAS DE LAKGILLIKRE 

French: 1(556— 1 746 

DUC DE PENTHIEVRE 

Cam-as: Height, 35 1 /) inches; uirftlt, 29 inches 

Louis Joseph, Due de Penthievre and afterwards Due de Vendome; born in 
165-i; entered the French army and distinguished himself in many battles; 
died at Tinaroz, Valencia, June 15, 1712. 

Half-length., about forty, standing, directed to right, head turned and 
looking at spectator; deep red patterned robes, white lace neckerchief; 
long flowing curly wig; white lace cuff's; right hand extended, ring on last 
finger; red curtain to right. 



No. 97 
FRANCOIS GlEKIX 

French: Died 1791 

FILLETTE JOUANT AVEC UN GABCON EX DORM I 

9 

Canvas: Height, 39 inches; length, 5H incites. 

Group of two figures in a landscape; the sleeping youth reclining on a 
golden-yellow cloak, in neglige dress of white shirt, yellow breeches and stock- 
ings; to left golden-haired girl in brown velvet low bodice with pink and 
white sleeves, bunch of forget-me-nots at center of corsage and band of 
flowers in her hair, holds in her left hand a wisp of grain with which she is 
tickling her fair companion; by his side a battledore and shuttlecock, which 
he has recently been playing. 

Signed and dated on trunk of tree to left: F. Gierix eec. Pixxit 
ex 1791" (last letter indistinct). 

An overdoor decorative painting by an artist whose works are now rarely 
met with ; lie was a popular painter of his time and was a member of the French 
Royal Academy of Painting, exhibiting at the Salon from 1761 to 1783. He 
painted many genre pictures, landscapes and portraits of famous men and 
women; the present example of his work is one of the most attractive of his 
fancy subjects which have come down to us. 



No. 98 
HYACIKTIIE RIG A IT) 

French: 1(559—1743 

THE DUC D'ANTIN 

Canvas: Height, 38 inches; length, 47 incites 

Louis Antoine tie Pardaillan de Gondrin, son of the Marquise de Montespan ; 
born in 1665; Lieutenant General of the King's armies; died in 1736. 

Half-figure of elderly man, to front, looking to right, in armor, blue and 
ermine cloak fastened with ruby and pearl brooch; right hand resting on 
staff or baton, left on hip; long gray wig; fort to right, landscape to left; 
background, blue sky and clouds. 

I' 'ainted about 1720. 

There is another portrait of the Due d'Antin by Rigaud at Versailles, 
No. 2500. 



No. 99 
CARLE ANDRE VAX LOO 

French: 1705—1765 
PORTRAIT OF A GIRL 

Canvas: Height, 43^ inches; width, 33 inches 

Small whole length of a fair-haired child about three or four; white and 
blue low dress, right hand holding letter addressed "Au Roy," left holding 
scarlet ribbon, one end of which is tied to the collar of a dog whose front 
paw is resting on gilt pink-upholstered chair, on which is child's plumed blue 
hat ; yellow and red curtains and paneled background. 



No. 100 
CARLE ANDRE VAN LOO 

French: 1705—1765 

COMTESSE DE BEAUFORT AS SULTANA 

Canvas: Height, 45 incites; width, 35 inches 

Three-quarter length, about thirty, to front, looking at spectator, full 
face, black low dress with red and gold bands, embroidered shawl loosely 
tied around waist, the end over right arm; jeweled brooch at center of cor- 
sage, jeweled neck chain with pendant; powdered hair, white turban with 
red crown and feather aigrette; right hand holding black mask, left arm rest- 
ing on table; pillar to left, green curtain to right. 

Collection: Due dc Praslin. 



No. 101 
LOUIS JOSEPH WATTE A U (of Lille) 

French: 1758—1813 

PORTRAIT OF A LADY 

Canvas: Height, 46^ inches; width, 36 inches 

Nearly whole length of middle-aged lady, seated on red upholstered chair, 
directed to left, looking at spectator; old gold low dress with white gauf- 
fered fichu and white waistband; golden hair bound with white ribbon and 
pearl rope, gold earrings; right arm resting on table, holding two red 
roses in hand, left hand on lap holding greenish shawl; background gray 
curtain. 

Signal at right hand bottom corner: Watteau (?del). 

From the Abeille Collection. 



No. 102 
FRANCIS POURBUS 

French: 1569—1622 
ANNE OF AUSTRIA 

Canvas: Height, 49 inches; width, 39 inches 

Daughter of Philip III of Spain; born at Madrid, September 22, 1601 ; married 
Louis XIII of France by proxy at Burgos, October 18, 1615: Regent of France 
during the minority of her son, Louis XIV, 1643-61 : died January 20, 1666. 

THREE-QUARTEB length, about twenty, standing to front in full robes, ermine 
cloak, green dress embroidered with golden fleurs-de-lis, white tripartite 
corsage studded with large pearls and precious stones, green sleeves with 
small white puffs and jewels; large white ruff, white lace cuffs, pearl brace- 
lets and earrings; fair hair with crown; right hand resting on cloak, of 
which a fold is held in the left; red curtain background. 



No. 103 
JEAN FRANCOIS DE TROY 

* 

French: 1679—1752 

PORTRAIT OF A LADY 

Canvas: Height, 49' L . inches; length, 39 ' ._, inches 

Threk-quaktkk length, middle-aged, standing, directed to left and looking 
at spectator; bine low dress with short broad sleeves trimmed with lace, 
red cloak over right shoulder; curly hair; right hand pointing to right and 
holding flower: large sculptured flower vase on left, bine curtain. 



No. 104 
ADELAIDE LABLLLE-DE8-YERTIS GUIARD 

French: 1749—1803 

PRINCESSE DE LAMBALLE 

Canvas: Height, 50 inches: width, 38 inches 

Marie Therese Louise, daughter of the Prince de Carignan; horn at Turin in 
September, 1749; married in 1767 Louis of Bourbon, Prince de Lamhalle, the 
intimate friend of Marie Antoinette; died in 1792. 

Nearly whole length, under thirty, to front, seated in green armchair; 
red low dress trimmed with brown fur, short sleeves edged with white lace, 
pearl bracelets, powdered hair, white head-dress, the ends loosely folded 
over bosom; right elbow on edge of chair, hand holding tortoise-shell fan; 
left hand on lap, index finger extended; green curtain and pillar back- 
ground, clouds to right. 

A different portrait of the Princess, by the same artist, is reproduced in 
the Gazette des Beaux Arts (1902), Vol. 27, p. 113. 



No. 105 
ITYACINTHE RIGrAUD 

French: 1659—1743 
MADAME RIGAUD 

Canvas: Height, 50 inches; width, 37 1 /:? inches 

Elisabeth de Gouix (or Goion), widow of Jean Lejuge of Paris; married in 
1710, Hyacinthe Rigaud, Painter-in-ordinary to the King — the original mar- 
riage contract appeared in a sale held in London on November 28, 1913; she 
died March 15, 1743, aged 75. 

Nearly whole length, about thirty, standing, directed to left, looking at 
spectator; green low dress with white insertion, corsage embroidered with 
gold and the skirt with silver, short sleeves, blue cloak over right shoulder 
and arm; right hand extended, left holding end of cloak; black hair in curls 
with white ribbon; to left dark curtain, to right large sculptured flower 
vase; gray background with two pilasters. 

Described and illustrated in Sedelmeyer 's "Fifth Hundred of Paintings by Old 
Masters," 1899, pp. 100-101. 

Rigaud painted several portraits of liis wife before and after his mar- 
riage. A romantic story of liis first portrait of her is told in // Artiste of 
March, 1870, pp. 275-6. 



No. 106 
HYACIXTIIK RIGAUD 

French: 1659—1743 
LADY IX RED 

Canvas: Height, 54 inches; width, 40 inches 

Three-quarter length, middle-age, standing to front; old-gold low dress 
with white laee insertion, short sleeves edged with white lace, blue and red 
asters at center of corsage ; rich scarlet overdress with pearl ornament ; pow- 
dered hair with pearl pin and spray of foliage; right hand extended, left 
holding fold of dress; to left pillar with pedestal carved with hoys, goats, 
and vine-leaves, to right trees. 

Collection: H. M. W. Oppenhevm, June 13, 1913. 



No. 107 
ADELAIDE LABIELE-DES-\ EKTl S GUIAKD 

French: 1749—1803 

LADY AND CHILD 

Canvas: Height, 56 inches; width, 44 inches 

Whole length of a young lady seated in a gilt and blue upholstered chair, 
directed to left, looking at spectator; greenish shot silk low dress, double row 
of buttons at corsage, broad white collar, sleeves trimmed with white; pow- 
dered hair, light blue hat with blue ribbon; left arm resting on blue cushion; 
infant in white and red dress on lap, end of its pink sash held in mother's 
left hand; to left sculptured urn and low table with tea things. 



No. 108 
NICOLAS DE LARGILLIERE 

French: 1656 — 174-6 

PORTRAIT OF A LADY OF THE COURT OF LOUIS XIV 

Canvas: Heiglit, (Mi inches; width, 50 indies 

Three-quarter length of a middle-aged lady at her toilet, to front; white 
gold-embroidered low dress with short lace-trimmed sleeves; dark hair with 
pearl and ribbon bands which she is fastening with both hands; rich bine shawl 
over shoulders; to left dressing-table with mirror; blue Chinese vase with 
flowers, jewel case and pink drapery; to rit>ht carved wood red upholstered 
chair; pillar and red cm-tain background. 

Collection: Mrs. Lyne Stephens, June, 1911, No. 105. 



No. 109 
JACQUES LOUIS DAVID 

French : 1748—1825 

NAPOLEON BONAPARTE 

Canvas: Height, 59^4 inches; width, 43^ inches 

Whole length seated on a rocky coast, directed to left, looking at specta- 
tor; in uniform, green coat with gold buttons and epaulettes, red cuffs and 
collar, red and green sash seen under coat, red rosette with eagle pendant and 
star of an order on breast ; white waistcoat (with gold snuffbox in pocket) 
and breeches, top boots, gold handled sword by side; hands crossed on lap, 
left holding paper; gloves and hat on floor; to right eagle on rock above, nest 
of dead eagles and snake below, to left cottage with awning, and sea in dis- 
tance. 

This appears to be an unrecorded portrait of Napoleon: is probably by 
one of David's pupils, and not done ad vivitrn. 



No. 110 
NICOLAS LANCBET (School of) 
FETE CHAMPETBE 

Canvas: Length, 71 inches; width, 61 inches 

Group of eighteen figures near the stone steps of the entrance to a richly 
wooded garden; the two central figures, a youth in fancy costume and a 
girl in plain gray dress, are dancing to the strains of a fife, guitar and tam- 
bourine; in the middle distance three seated figures are taking refreshments; 
to left a youth playing a violin and reading the music from a page held by 
a seated girl; to right, and near a carved fountain, are three figures in con- 
versation ; other features in the composition are two dogs and bagpipes, the 
latter presumably the instrument of the youth dancing. 

Collection: Lesser Lesser, February 10, 191*2, No. 9. 



No. Ill 
CARLE AXDKE VAX LOO 

French : 1705 1 765 
EMPEROR OF GERMANY 

Canvas: Height, 87 inches; width, 49 inches 

Whole Length, when young, standing to front, looking to right, in state 
robes; gold patterned coat and breeches, white stockings, black shoes Avith 
jeweled buckles and red heels; long flowing gold embroidered cloak, the folds 
of which fall over green and gold upholstered state chair; gray wig, white 
lace collar, the Order of the Golden Fleece suspended by red ribbon; to right 
carved gilt table with red drapery on which are scarlet and ermine cloak, 
crown and orb; gold staff or scepter held by right hand; overhead gold cur- 
tain to right with rope and tassels to left. 

This and the following are referred to at length in Mr. Roberts's Introduction. 



No. 112 
CARLE ANDRE VAN EOO 

Fkexch: 1705 — 1765 

EMPRESS OF GERMANY 

(The pendant of the preceding portrait) 
Canvas: Height, 87 inches: width, 49 inches 

Whole length, about forty, to front, in state robes, gray satin low dress and 
short sleeves, elaborately decorated with pearls and precious stones, black 
gold-embroidered underskirt, scarlet and white cloak across shoulders; right 
hand holding gold double cross, left resting on stool ; crown and orb on table 
to left, dark curtain background, alcove to left. 



FLEMISH SCHOOL 



No. 113 
SIR ANTHONY VAN DYCK 

Flemish: 1599 — 1641 

ST. ANDREW 

Height, 16 inches; width, 13 inches 

Head and shoulders of the elderly saint, directed to left, his right hand rest- 
ing on what appears to he his cross. Chalk drawing on canvas. 



No. 114 
JJERXAPvD VAX OK LET 

Flemish: 1490—1542 

VIRGIN AND CHILD 

Height, 17 inches' width, 12'.. inches 

The Virgin, beneath a canopy of dark draperies, seated on a plain wood 
bench in front of a long table on which fruit is spread; blue dress, rich scar- 
let cloak across her shoulders and lap, white head-dress with long ends; the 
child seated on his mother's lap, holding an apple in his right hand, a red- 
breasted bird perched on his left; in the distance to right a country scene 
with cottages, river and high peaked hills. 
Transferred from wood to canvas 

Collection: Charles Butler, May 2(5, 1911, No. 204. 




No. 115 
SIR PETER PAUL RUBENS 

Flemish: 1577 — 1640 



HEAD OF P1UXCESS ELIZABETH 



Canvas: Height, 2-i inches; width, ID inches 



Bust of Princess in middle age, to front, bine and black low dress cut square, 
with pearl pendant and band of pearls and precious stones, white large 
wedge-tipped ruff; fair hair with pearl band, drop pearl earrings; scarlet 
curtain background. 



No. 116 
JUSTUS St TTEKMAXS 

Flemish: 1597—1681 

LADY IX RED DRESS 

(Probably ;i member of the Medici family) 

Canvas: Height, 50 incites; width, .'5(5 inches 

Nearly whole length of a lady of quality about thirty, standing, directed 
slightly to left; looking at spectator; large sleeveless cloak elaborately em- 
broidered with gold ; red dress embroidered with gold in perpendicular lines, 
corsage terminating in long tongue-shaped flap and similarly embroidered, 
creamy white sleeves with gold pattern, white laee cuffs, red bead bracelets, 
broad stiff laee collar edged with red and tied with red ribbon bow; red bead 
necklace, and long rope of same passing over shoulders, long gold necklace 
in which is entwined second finger of left hand; right hand resting on green 
covered table; brown hair with red ribbon and jeweled aigrette or comb. 



No. 117 
JUSTUS SITTERMAXS 

Flemish: 1597—1681 

PORTRAIT OF A SPANISH LADY 

Canvas: Height, 33 inches; width, 26 inches 

Half figure of a young woman standing to front, looking at spectator; 
brown dress, white sleeves with small richly-worked cuffs, double-row gold 
neck chain and long necklace of black beads and gold; brown hair with red 
flower, gold and pearl earrings, elaborate white stiff collar; left hand with 
ring on last finger, holding open book ; right hand, ring on penultimate fin- 
ger, holding handkerchief. 

Sold at Christie's on June 14, 185*2, Xo. 76, as a Velasquez: "Head of a 
Spanish Princess in rich dress." 



No. 118 
SIR AXTHONY VAN DYCK 

Flemish: 1599—1641 

A LADY OF THE CONINGSBY FAMILY 

Canvas: Height, 71 ' •_> inches; width, 42 inches 

Whole-length portrait of lady under thirty, walking to left up the stone 
steps of a balcony; pink low dress embroidered with gold, pink and bluish 
bodice with pink bows, black lace shawl over head and shoulders and flowing 
at back, deep white lace cuffs; pearl and gold necklaces, pearl pendants 
suspended by colored ribbon from gold earrings; golden curly hair, pink 
head-dress with pearl border; gloved right hand resting on fruiting orange 
tree, left hand holding fan and fold of dress; trees to left. 

Exhibited : Edinburgh Loan Exhibition, 1883, No. 18-1 {Sir George I). Clerk), 
Collections: Sir George Clerk, Hart., 189(5; Charles Butler, 1911, No. 220. 



No. 119 
SIH PETEK PAUJL RUBENS 

Flemish: 1577—1640 
THE ADORATION OF THE MAGI 

Canvas: Height, 96% inches; length, 120 inches 

Ox the extreme left are observed the heads of the ass and the ox. Then 
towards the right the Virgin holds the Child on her knees. She has a grayish- 
white cloth over her head, she wears a red dress with white sleeves and blue 
drapery; her feet are bare. Beside her is St. Joseph draped in neutral 
tones. In front of the Virgin, the Wise Man with the white hair and beard 
who holds out to the Child a basin filled with pieces of gold. He wears a 
simple white alb, over which is thrown a pink chasuble with a golden stole. 
In the middle of the picture the black King with white cloth around his 
head, and over his body an ample red cloak lined with gold and yellow with 
golden fringes and dressed in red. The very long skirt of the red cloak is 
supported at the end of the picture by a pretty page boy whose head and leg 
are alone seen. Behind the negro King is the third King bearing a gold 
censer, dressed in a neutral tinted grayish cloak over a dark-blue dress, and 
having black hair and beard. Behind this last King a tall page and a negro 
whose head and neck alone are seen, two men on horseback, one wearing a 
red cap and the other a cloak. Finally coming down a slope, six men, 
four of whom are soldiers, one officer and a Court dignitary. 

(See illustration, second page following) 

AUTHENTICITY : The above descriptive particulars were drawn up 
by the late Mr. Max Rooses, the eminent authority on Rubens, and dated Ant- 
werp, December 7, 1912. Mr. Max Rooses also wrote: "The composition is 
by Rubens entirely, and so are the principal figures. The Virgin is entirely 
painted by the hand of Rubens, as well as the child Jesus, of a beautiful bright 
color, standing out clearly. St. Joseph of a moderately conspicuous color by 



the hand of Rubens. The hand of St. Joseph is much more touched up than 
the rest. The Wise Man with the white hair is entirely by the hand of Rubens. 
The painter has placed a clear note in the middle of the picture; the drawing 
of this figure is less careful. The Negro King is the dominating feature of 
the picture. The red cloak trimmed with yellow and with a white fur collar 
fills the entire picture with an enormous brilliant touch and is one of the most 
admirable pieces the master ever produced. The light on the lining flashes 
the red color with the dark shades standing off against a brilliant light color, 
one of the most beautiful pieces of coloring it is possible to see. They form 
a blaze of color calculated to eclipse the richest picture in tones, and they 
dominate this picture powerfully and happily. The little page who holds the 
skirt of the cloak adds a broadly painted note of color and beauty, without 
very successful drawing, but admirable as a feature of the whole. The figures 
in the background decline in value and liveliness. The black-haired King and 
the Courtier are pretty abundantly retouched by Rubens; the steers, vaguer 
in the background, are executed by a pupil. The heads of the ox and the ass 
and the column on the ground are retouched by Rubens, in order to bring them 
into harmony with the vibrating part of the picture. 

"Rubens has divided this picture into three grounds. The foreground 
contains the Virgin, the Infant, the old man with the white hair, the Negro 
King and the little page, to which are added the heads of the oxen and the 
broken recumbent column. The second ground contains St. Joseph, the black- 
bearded Wise Man, the courtier, the tall page and the black servant. In the 
third ground are the seven figures in the background, and the latter itself. 

"The composition is facile and ample. The picture does not possess the 
exceptionally high value of his best productions, but it is authentic and would 
do credit to a high-class collection. To sum up, the picture is composed by 
Rubens; it is painted in his hand as regards the figures in the foreground, 
and by that of a pupil retouched by Rubens in the background figures." 
( Translation.) 

HISTORY: This picture was painted lor the principal Altar of the 
Church of St. Martin in Bergues, French Flanders. It was sold in 1 7(5(5 by 
the church authorities to meet the expenses for the repair of the building, 
and was bought by the celebrated amateur, Kandon de Boisset. On the sale 
of his Gallery in 1777, the upset price of 1 (),()()() livres (francs) was not 
reached. At Lebrun's sale in 17J)1 it was sold al 9,500 francs and at Robit's 
sale in 1 SO 1 for 7,950 francs, when it was purchased for Cardinal Feseh. It 
remained in the Cardinal's fine collection until after his death in lS.'Ji). This 
Gallery was dispersed ;it the Palais Ricci, Home, during the spring of 1845, 



and this Rubens is described at greal length in the Expert George's "Catalogue 
RaisonneV' No. 1!)!) (pp. 222-220). It was acquired by Thibaut at 2,500 
"ecus romains" (13,750 francs) for a member of the family (the Cardinal 
was Napoleon's uncle), in which it appears to have remained until March 1*2, 
1853, when it was sold at Christie's as the property of Charles Lucien Bona- 
parte, Prince de Canino; it then realized £1,200, and was bought by Bentley, 
the well-known dealer. Since then it has been practically lost. 

The picture is fully described in Smith's "Catalogue Raisonne," Part 2, 
No. 119, where the size is not correctly given. It has been engraved by Nicolas 
Ryckman, with various differences in details, the engraver choosing an up- 
right form for his engraving and not that of the picture, which is oblong. 

VERSIONS OF THE SAME SUBJECT: Rubens painted this subject 
several times: — (1) In the Madrid Museum, done in 1(!1(); (2) Brussels Mu- 
seum, done 1618-19, for the Capucin Fathers of Tournai; (3) Louvre, about 
1627, for the Annuneiades of Brussels; (4) Dublin Gallery, belonging to Lord 
Ardilaun, repetition of the preceding by a pupil; (5) an example done in 1621 
for the Church of Ste. Gudule — this has disappeared; (6) Church of St. 
Jean, Maines; (7) the same, a sketch, the property of the Marquis of Bute, 
both painted in 162-t; (8) Lyons Museum, a pupil's work retouched by Rubens 
about 1619; (9) Antwerp Museum, 1624, done for the Church of the Abbey 
St. Michel at Antwerp; (10) The Hermitage, St. Petersburg, pupil's work 
touched by the master; (11) the above described version for the Church of 
St. Martin, Bergues St. Winoc ; (12) the Duke of Westminster's version done 
for the Convent of the Dames Rlanc at Louvain, of which there is a sketch in 
the Wallace Collection; and (13) the version done for the famous printer, 
Balthasar Morctus, at the New Palace, Potsdam. 



ENGLISH SCHOOLS 



INTRODUCTION 

Generally speaking, a picture dealer's stock, when it conies to be sold by 
auction, presents a somewhat miscellaneous contingent of derelicts — pic- 
tures which for various reasons have not attracted collectors of very different 
tastes and buying capacities. This is inevitable in the ease of a dealer who 
caters for all classes of buyers. For the few who are satisfied with the pur- 
chase of an occasional masterpiece there are hundreds who are constantly 
on the lookout for inexpensive pictures of good decorative and artistic qual- 
ities. The late Mr. Blakeslee catered for all classes of buyers, and probably 
during his long business career had a larger number of clients than any 
other picture dealer on the American continent. 

A mere glance through this catalogue will more than demonstrate that 
his stock, so far from being a mass of "derelicts," is, in point of fact, of a 
very high order in quality and importance. There are not perhaps many 
superb masterpieces — for such are rare even in a well-weeded private collec- 
tion — but there are here pictures which will withstand every test of authen- 
ticity, and which possess every artistic claim to the right of entry into the 
best of collections. 

The collection is especially remarkable for its portraits by English 
artists, and these comprise works by men who rank as Sir Joshua Reynolds's 
predecessors, by those avIio were his contemporaries, and by those who car- 
ried on the traditions of the great founder of what is now comprehensively 
known as the Early English School, in which Sir Joshua himself is repre- 
sented by at least one great picture and a number of others of smaller size. 
It cannot be doubted that many of these will in due course find permanent 
homes in one or other of the public galleries or private collections of which 
there are so many throughout the United States. 



Portrait painting in England from the time of Van Dyck to Reynolds 
is represented by five of the leading artists, ranging from Dobson, who died 
in 1646, to Highmore, who lived to 1780. By Dobson there are not only two 
copies after his great master. Van Dyck, but also an interesting group of 
two children and another of Sir Charles and Lady Lucas — the latter an ex- 
cellent picture which offers a somewhat difficult problem. It came from a 
well-known collection, and has apparently always been known as represent- 
ing the famous Royalist and his wife; but there is no evidence so far as can 
be found that he was ever married, and probably the lady in the picture is 
his devoted sister, Margaret Duchess of Newcastle, an accomplished lady of 
literary tastes whose agreeable countenance has been preserved to us in Die- 
penbeke's portrait. The best of the Lely portraits is that of Frances Lady 
Digby, which must have been painted towards the end of his career; another 
good picture is the group of the Prince and Princess of Orange, at whose 
marriage the artist was presented to Charles I. No other version of the pic- 
ture is known. 

Among the works catalogued under Kneller, attention will be at once 
arrested by the fine whole length in state robes of a lady. This came from 
the very large collection of historical portraits formed by James Karl of 
Fife towards the end of the eighteenth century and which remained at Duff 
House, Banffshire, until 1907. It has always passed as a portrait of Sophia, 
wife of George I, and by some attributed to Kneller, whose companion por- 
trait of the king was also in the same collection. In the matter of family 
and other portraits tradition counts for much, and it is not always easy to 
prove that it is wrong. There are, however, many reasons against accept- 
ing this as a portrait of the unhappy consort of George I, who did not suc- 
ceed to the throne of England until 1(598, or four years after his divorce. It 
is probable that the portrait represents their daughter, Sophia Dorothea, 
who married Frederick William I, King of Prussia, and may have been 
painted by A. Pesne, a French artist who had a large practice as official 
portrait painter in Berlin and to whom the Queen undoubtedly sat. When 
the portrait was exhibited in London the critic of The Times (December 
30th, 1800) pointed out that "this finely painted full length of a lady in 



Royal Robes, with the Crown of England by her side, was certainly 
painted long after 172<>," and suggested that it may be a posthumous por- 
trait commanded by George II as a memorial of his mother. And here for 
the present the matter must rest. 

By Jacob Housman, or Huysmans, a Dutch painter, who, as we know 
from Pepys, had a considerable vogue in London, there are two interesting 

portraits which help us to realize that many of his works now pass under the 
name of his more famous contemporary, Lely. Joseph Highmore, with his 
refined portrait of the celebrated actress, Mrs. Pritchard, and Hogarth, 
with an equally good portrait of another famous actress. Peg Wbffington, 
help us to bridge the story of the art of portrait painting from Van Dyek 
to Reynolds. 

The examples of Sir Joshua Reynolds are dominated by the magisterial 
portrait of Annabella Lady Blake as "Juno," which was one of the sensa- 
tions of the Royal Academy of 1769, the one jarring note in the criticisms 
of the day being a protest against "transferring ladies of the eighteenth 
century into heathen goddesses." The picture is well known through the 
superb mezzotint by John Dixon, which has been copied times out of number. 
Nearly all the Bunburys — and Lady Blake was a Miss Bunbury — with their 
wives, children and friends — sat to Sir Joshua, and this fine picture is only 
one of the many tokens of the friendship which existed between the artist 
and a distinguished family. Of other well-known people represented here 
who sat to Sir Joshua, special reference can only be made to the Countess of 
Ancrum, Dr. John Armstrong, a now entirely unread poet, Kitty Fischer, 
a lady more celebrated for her beauty than for her virtue, the artist's niece, 
Miss "Offie" Palmer, and the Countess of Strafford. 

Two exceedingly attractive among other examples of Ronmey's art will 
be found in this collection: Mrs. Drake, a member of a once famous and 
wealthy Norwich family, and Mrs. Uppleby. Both were painted in Rom- 
ney's best time and each is of first rate quality. The latter portrait of an old 
lady is a brilliant piece of characterization, and either of these two portraits 
would be an ornament to any collection. Most of the best known contempo- 



raries of Reynolds and Romney are represented by examples of varying 
excellence. Raeburn's Lord Craig and Mrs. Stewart Richardson are well- 
known examples of the greatest portrait painter which Scotland has yet pro- 
duced. Although the pictures by Benjamin West are not of the first rank, 
they have special interest to Americans. 

Sir Thomas Lawrence and Sir William Beechey, and the many artists 
who may be grouped around them, are well represented, some by unrecorded 
examples. The best known of the Lawrences is the "noble portrait," as 
Boaden calls it, of 'Kemble as Rollo," which for a century formed part of the 
Peel Collection at Drayton Manor, and which ought to find a permanent 
home in some theatrical club or in the foyer of one of the theaters in the 
States. The portrait of Lady Harriet Vernon, catalogued under Beechey, is 
so much in the manner of Reynolds and so unlike any other Beechey known 
to the present writer that it is difficult to accept the present attribution with- 
out reserve. It is curious to note that whilst we have in this picture a por- 
trait of the youngest daughter of Thomas Earl of Strafford, we have in 
Reynolds's Countess of Strafford the wife of William Earl of Strafford, 
both painted 17.5.5-58, when the artist of one was a child. 

There are several interesting examples of Early English artists whose 
work is often found under better-selling — because better known — names. 
For instance, the group by Mason Chamberlin of Mr. and Mrs. Hopkins, 
and the canal picture by F. W. Watts, which long passed as a Constable. 

Sir Martin A. Shee and George F. Watts (the former was born in 1709 
and the latter died in 1004 at the age of eighty-seven) furnish us with a 
continuity of over a century and a quarter, from Reynolds to our own day. 
By Shee we have a character portrait of Mrs. Kemble, and by Watts an 
exceedingly interesting group signed and dated 1837. This group is an im- 
portant "document" in the early artistic life of one of the greatest idealists 
of our time. In those early days, as his widow informs the present writer, 
Mr. Watts painted many portraits, but, so far, a search through his sketch- 
books has failed to identify the lady and her two children in this picture. 
Mrs. Watts also states that the size of the canvas on which he usually painted 
at the date of this picture was much smaller than this. Contemporary with 



both Shee and G. F. Watts, Sir David Wilkie is represented not only by 
two official portraits, but by a subject picture which very strongly appeals 
to American sentiment and is based upon a well-known passage in Wash- 
ington Irving's "Life" of Columbus. 

There are few pictures of the present, but they are all important, and, 
it may be added, all well known through frequent reproductions. We have 
a transcript of Ancient Home in Alma-Tadema's "Sculpture Gallery," a 
scene of Jacobean England in Orchardson's "Young Duke." and what might 
well be a passage from the Mort d'Arthur or a verse from William Morris's 
poems in Burne-Jones's "Psyche's Wedding." 

My object in compiling this catalogue has been to describe the pic- 
tures under the names of the artists whom I believe to have painted them, 
irrespective of the names under which some of them have been purchased. 
In several instances it has not been possible to solve some of the problems 
which have arisen. But a fine picture remains a fine picture, to whomsoever 
it be attributed. The practice which, for commercial reasons, has been so 
long in vogue, of fathering on Beechey and Harlow pictures below the 
standard of Hoppner and Lawrence, has caused a great amount of confusion, 
and even after the counterfeits have been separated from the genuine, other 
difficulties in the way of attribution arise. Many well-selected private collec- 
tions in the United States afford problems of this character, and some of 
these will not be settled until we possess a thoroughly comprehensive history 
of English art during the first fifty years of the last century. 

W. ROBERTS. 

Loxdox, November, 1914. 



No. 120 
A. W. DEYIS 

1703— 1822 

PORTRAIT OF A LADY 

Canvas: Height, 29% inches: width, 18 :! | incites 

Small whole length of a middle-aged lady, white dress with broad frilled 
pleats round shoulders, blue bow at neek, blaek broad waistband with blue 
bow; right hand holding large blaek high-crowned felt hat trimmed with blue 
bands and white feathers; powdered curly hair, long gold earrings. 

From an anonymous sale tit Christie's. May 13, 1899, Xo. 116. 

No. 121 
JOHN OPIE, R.A. 

1761—1807 

THE YOUNG MUSICIAN 

Canvas: Height, 28 inches: width, 23 inches 

Half-figure of a peasant boy, standing, directed to left; green sleeveless 
waistcoat, white shirt open at neck, red breeches, black felt hat, dark long 
hair; playing on a red whistle which he is holding to his mouth with both 
hands; gray background. 



No. 122 
FRANCIS COTES, K.A. 

1726—1770 
PORTRAIT OF A LADY 

Canvas: Height, 23 inches; width, 18 inches 

Head and shoulders, to front, looking to right, three-quarter face ; low white 
dress with lace insertion, pearl and ruby brooch at center of corsage, pink 
cloak trimmed with ermine; dark hair dressed high, with white turban, of 
which the end falls over left shoulder ; pearl necklace and earrings, gray back- 
ground. 



No. 123 
ALFRED EDWARD CHAJLON, R.A. 

1T81— 18G0 
MRS. FAIR LIE AND CHILD 

Canvas: Height, 28 l /j inches; width, 23' o inches 

Probably Louisa Fairlie (nee Purves), wife of John Fairlie and niece of Lady 
Blessington; an authoress; died in 1843. 

The mother, about thirty, seen to waist, seated in dull green covered chair, 
directed slightly to right, looking at spectator, full face; low white dress 
with jewel, bright scarlet jacket lined with white and fastened with red band 
at waist, black hair in curls, gold earrings and thin gold necklace; left arm 
around the child's neck, ring on penultimate finger; golden-haired child in 
blue and white dress nestling close to her mother; dull gray background. 

Chalon exhibited a group of Mrs. Fairlie and her two children — an en- 
graved work — at the Royal Academy of 1834. The Mrs. Fairlie in the above 
picture is probably the same lady. 



No. 124 
SIH JOSHUA REYNOLDS, P.E.A. 

1723—1792 

JOHN ARMSTRONG, M.B. 

Canvas: Height, 29 inches; width, 24 inches 

Poet, physician and essayist; born at Castleton, N. B., in 1709; studied medi- 
cine at Edinburgh; physician to Hospital for wounded soldiers, London, 17-16; 
to the army in Germany, 1760; traveled in Italy with Fuseli, 1771 ; an intimate 
friend of John Wilkes and Sir Joshua Reynolds ; died September 7, 1779. 
His most famous work is a didactic poem entitled "The Art of Preserving 
Health," 1741. 

Head and shoulders of elderly man, directed and looking to right with cyni- 
cal expression, dark-brown coat, buttoned up, with double row of gold but- 
tons; white stock, gray-bottomed wig. 

From the Harper Collection, New York, April 20, 1911. 

Dr. Armstrong sat to Reynolds in 1755-6, and again in 1767. The en- 
graved picture in which the coat is unbuttoned belongs to Mr. Burdett-Coutts. 



No. 125 
SIR THOMAS LAWRENCE, 1\ K. A. 

1769—1830 
FRANCIS MOUNTJOY MARTYN 

Canvas: Height, 28 inches; :ci(lth, 24 incite* 

Youngest son of Charles Fuller Martyn, of Calcutta; educated at Eton (1826) 
and Trinity College, Oxford, where he matriculated October, 1827, aged 18; 
entered the 2nd Regt. of Life Guards, of which he became Colonel. 

Head and shoulders of a young man, painted on entering his regiment ; to 
front, looking to right; blue uniform with gold buttons and epaulettes, scarlet 
cloak across shoulders and held with left hand ; brown curly hair ; gray and 
blue background. 

No. 126 
BENJAMIN WEST, P.K.A. 

1T38— 1820 
MRS. WEST AXD CHILD 

Canvas: Height, 25 inches; length, 30 inches 

Ax interior, the central figure in which is a small whole-length figure of 
an oval-faced young lady of about twenty-five, seated on a red-covered bench, 
in white dress, blue sash and white Oriental cap, sewing a yellow garment 
which rests on her lap ; sleeping child in blue and white covered cot to left ; 
in a doorway to right are seen elderly man and woman, tree and distant land- 
scape; grayish curtain background. 

Xote: Probably intended to illustrate a Biblical scene, or one from a 
popular story, in which the artist has introduced his wife and child. 



No. 127 
GEORGE ROMJSTEY 

1784—1802 

LADY GRANTHAM 

Canvas: Height, 29 incites; widtli, 24 inches 

Mary Jemima, second daughter of Philip, second Earl of Hardwicke; born 
February 9, 1757; married August 17, 1780, Thomas, second Baron Gran- 
tham; died January 7, 1830. 

Half-FIGURE., middle age, directed to right, looking at spectator; blue low 
dress, corsage edged with white, brown overdress trimmed with fur; pow- 
dered hair dressed high with curl on neck, white head-dress; right hand ex- 
tended holding partly opened volume; blue curtain or cloak to left; dark 
background. 

Romney painted two portraits <>t Lady Grantham in 1780-1; the late 
Earl Cowper's version is described in Ward and Robert's "Romney," p. 64, 
but the above is a later picture. Lady Grantham was also painted by Rey- 
nolds, Lawrence and Ed ridge. 



No. 128 
SIR JOSHUA REYNOLDS, P.R.A. 

1 723- 1792 

SIR WALTER BLACKETT. HART. 

Canvas: Height, "Ji) 1 - indies; width, -J- 1 - inches 

Son of Sir Walter Calverley of Wallington; bom in 1708; assumed the sur- 
name of Blackett in 1733; M.P. for Newcastle (to which place he was a great 
benefactor) in seven parliaments; died in 1777. 

Half-figure, age about sixty, to front, looking at spectator; dark-blue vel- 
vet coat and waistcoat edged with white; white stock: gray wig, dark back- 
ground. 

Sir Walter Blackett sat several times to Sir Joshua, in 1759, 17(50, 1766 
and 1777. One whole length is at the Infirmary, Newcastle-on-Tyne, and an- 
other belongs to Sir George Trevelvan. 



No. 129 
TILLY KETTLE 

1740—1786 
PORTRAIT OF A LADY 

Canvas: Height, 28 inches; length, 36 inches 

Half length of middle-aged lady seated to front and looking to left, pink 
patterned low dress with white insertion, short sleeves with broad white 
edging: dark hair dressed high with white and gold patterned head-dress; 
left arm resting on pedestal, hand against chin, wedding ring on penulti- 
mate finger, right arm on lap; sculptured wall and pillar background. 

Dated on pedestal to right: 1770. 



No. 130 
SIK JOSHUA REYNOLDS, RE. A. 

1723—1792 
PORTRAIT OF THE ARTIST 

Canvas: Height, 29 inches; width, 24 inches 

Portrait of himself as an elderly man with large spectacles ; half figure to 
front ; dark-green coat with brown collar, white stock, gray curly wig. 

One of several versions of the well-known portrait. 



No. 131 
SHI JOSHUA I1EYXOLDS, P.R.A. 

1723—1792 
SIR ROBERT PALK, BART. 

Canvas: Height, 29!/o inches; rcidtlt, 241/2 inches 

Born about 1718, educated at Wadhain College, Oxford; married in 17(51, 
Anne, daughter of Arthur Vansittart; Governor of Madras, 17(53, M.P. for 
Ashburton and Wareham, 17(57, 1774-87; created a Baronet June 19, 1782; 
died April 29, 1798, aged 81. 

Half-figure in an oval, directed to right, head slightly turned, looking at 
spectator three-quarter face; red coat with gold buttons and embroidered 
with gold bands, white neckerchief, gray wig. 

Collection: C. A. G. Palh; of H aid en Hall, Exeter, March 13, 1913, No. 102. 

Reynolds painted two portraits of Sir Robert Palk, one in 1760 and the 
other in 1768; the above is the later of the two. 

Graves and Cronin's "Reynolds," ii., pp. 719-20. 



No. 132 
GEORGE ROMNEY (Period of) 

Latteb Half of the Eighteenth Centuet 
DAPHXIS AND CHLOE 

Canvas: Height, 39 inches; length, 4S inches 

A SYLVAN scene with two youthful figures seated near a clump of tall over- 
hanging trees. Chloe in pink and rose draperies, fair hair bound with blue 
ribbon, is holding in her left hand her quenouille or distaff. Daphnis, in blue 
and white draperies, is seated at her feet and is leaning against her, playing 
on his pipe; to right two sheep are seen, to left a winding road with figures 
and trees. 

From the Sedelmeyer sale, Paris, Mai/, 1907, Xo. 153 (illustrated in the 
sale catalogue). 



No. 133 
FRANCIS COTES, R.A. 

1726—1770 
PORTRAIT OF THE DUCHESS OF MARLBOROUGH ( ?) 

Canvas: Height, 30 indies; width, 24 inches 

Half-figure of a lady about twenty-five, standing to front, looking at spec- 
tator: dark patterned dress cut square at neck, trimmed with lace, short 
sleeves with elaborate lace edgings and pearl ornaments, bluish overmantle 
with lace : necklace of many rows ; fair hair dressed flat with flowers in center ; 
left arm resting on pedestal (on which is an indecipherable signature), 
hand holding end of bodice; gray background. 



No. 134 
SIR JOSHUA REYNOLDS, P.R.A. 

1723—1792 

FELINA 

Canvas: Height, 30 inches; width, 25 inches 

Nearly whole-length figure of a little red-haired girl in white dress, crouch- 
ing on the ground by the side of a tree, holding a kitten in her arms. 

A version of the Earl of Normanton's engraved picture. 

No. 135 
SIR THOMAS LAWRENCE, P.R.A. (Period of) 

1769—1830 

THE COUNTESS OF GALLOWAY 

Canvas: Height, 30 inches; width, 28 inches 

Jane, daughter of Henry, first Karl of Oxbridge; born September 1, 177-t; 
married April 18, 1797, Admiral George Stewart, who succeeded his father as 
eighth Earl of Galloway in 1800; died dune 30, 1842. 

HALF-FIGURE, about forty, seated to front, looking at spectator full face with 
smiling expression, head slightly inclined to Kit; dark-brown V-shaped low 
dress trimmed with blue and edged with white; brown curly hair, lace head- 
dress with long white satin streamers which fall over left shoulder and are 
held by right hand, left arm resting on blue-covered table, ring on penulti- 
mate finger; greenish background with brown curtain to right. 

Collection: Earl of Galloway. 



No. 136 
RICHAKD COSWAY, R.A. 

1740—1821 
PORTRAIT OF LADY WENTWORTH 

Canvas: Height, 42 inches: width, -V-i inches 

Three-quarter length, age about twenty-five, seated near a balcony on 
plain wood chair, directed to right and looking at spectator, low black dress 
trimmed with white laee, white bodice and fichu, large white apron : powdered 
curly hair with band of black ribbon, white feather aigrette, black earrings, 
long gold necklace with miniature of a gentleman set in pearls as pendant; 
short gold chain with gold watch at waist; extended fan held by both hands, 
volume on brown table to right; trees in distance to right. 



No. 137 
JOHN DOAYXMAN, A.R.A. 

1750—1824 

PORTRAIT OF MRS. MAIB 

Canvas: Height, 44- inches: width, .'3± inches 

Three-quarter length of a lady about thirty, seated at a table near an open 
window, directed and looking to right ; white low dress and loose fichu, brown- 
ish cloak across shoulders, powdered hair dressed high, bound with pearl 
ropes and green ribbon; both hands holding leaves of a volume which rests 
on table partly covered with green cloth, and on which also are seen a por- 
celain vase, scissors, etc. ; background, red curtain and trees. 

Signed and dated in lower right hand corner: J. Downman Pixx* 
17 — (last two figures indistinct) . 



No. 138 
HENRY R. MORLAND 

Circa 1730—1797 

MRS. THORNTON, AN ARTIST 

Canvas: Height, -A6 1 /. inches; width, 361/o inches 

Three-quarter length, age about thirty, standing to front and looking at 
spectator; white low dress, short sleeves, pink bodice, white lace crossover, 
broad pink neck ribbon; fair hair dressed flat, white lace bonnet with pink 
ribbon bow at center; to left an easel on which is a picture of a landscape 
with river; right hand holding paint brush and resting on picture on easel, 
left hand holding palette, brushes and niahl-stick; gray background. 



No. 139 
JOHN OPIE, R.A. 

17(51—1807 

MUSIDORA 

Canvas: Height, 47 inches; width, 30 inches 

Nearly whole-length figure of a young woman seated, directed to front 
and looking down; white loose robe, right arm and bosom bare, light-blue 
cloak across left arm and lap; abundant brown hair bound with ribbon, 
left hand holding red drapery. 



No. 140 
WILLIAM DOBSON 

1610—1646 
THE MISSES VENABLES 

Canvas: Height, il 1 /^ inches; length, 45^ inches 

P. and M. Venables. Whole-length figures of two fair-haired children about 
four or five, to front, in long white satin dresses trimmed with lace and yellow 
ribbons, each with a narrow gold neck chain and pendant ; the younger child 
with lace bonnet and holding her sister's hand; a pet dog is jumping up by 
the side of the elder. 

Formerly ascribed to Van Dyck, according to a paper pasted on the 
back of the picture. 



No. 141 
8IR MARTIN ARCHEPv SHEE, P.K.A. 

1769—1850 
PORTRAIT OF A LADY 

Canvas: Height, 49 inches; width, 38 indies 

Three-quarter length, about twenty, walking in a landscape to left, looking 
at spectator ; white low dress with loosely fastened blue corsage, short sleeves, 
pearl necklace; brown curly hair, large white straw sun hat garnished with 
flowers and flowing blue ribbons; rustic basket filled with flowers on left 
arm; background, trees and distant hilly landscape to left. 



No. 142 
GEORGE HENRY HARLOW 

1787—1819 
MRS. RICHARDSON AND CHILDREN 

Canvas: Height, 49 inches; width, 39 inches 

Group of five figures, the mother, aged about thirty, and her four children, 
all in white dresses, ranging from an infant of a year old upwards, the oldest 
seven or eight. Mrs. Richardson, seated looking at spectator and holding 
the two youngest children on her lap, is in blue low dress, short sleeves 
trimmed with lace, white frilled collar, ruby brooch, pearl necklace and 
small earrings; brown curly hair with pearl ornament, pearl bracelet on left 
arm and rings on fingers of both hands. The elder child by her side and 
clasping the infant, the second child standing behind its mother; both are au- 
burn-haired, and the three eldest wear coral necklaces; distant landscape with 
hills and flowering rose-trees to left, green patterned curtain overhead and 
to right. 



No. 143 
FRANCIS COTES, R.A. 

1726—1770 

PORTRAIT OF MRS. JONES (AFTERWARDS WALLEY) 

Canvas: Height, -t9 inches; width, 39 inches 

Maria Kenyon of Scarborough, married first, Robert Jones of Liverpool (by 
whom she had two children, Robert and Mary) ; and secondly, Joseph Waller. 

Three-quarter length of a young lady, twenty-five to thirty, seated near 
a balcony, directed to left and looking at spectator; old-gold low dress 
with sleeves to elbows trimmed with white lace, white lace fichu with light- 
blue ribbons; powdered curly hair, white cap with broad band passing 
around throat ; right arm on balcony, hand holding gold-mounted miniature 
with black ribbon suspender; to left on balcony rests a thin gray-covered vol- 
ume; pillar, blue curtain and sky background. 

This excellent portrait came from an anonymous sale at Christie's, May 
4, 1907, when it was catalogued as "Early English." Its attribution to Cotes 
is not altogether convincing, as the style of dress would suggest the late 
80's of the eighteenth century, and some years after Cotes's death. 



No. 144 
JOSEPH HIGHMOKE 

1692—1780 

MRS. PRITCHARD, THE ACTRESS 

Canvas: Height, 45) inches; width, .'59 inches 

Hannah Vaughan, born in 1711, married a poor actor named Pritchard, ap- 
peared at the Haymarket Court in 1783, and at Drury Lane 1734-40; the 
greatest Lad// Macbeth of her day and sustained many other leading charac- 
ters ; died in 17(58. 

Nearly whole length, age about fifty, seated on a red high-backed settee, to 
front, looking at spectator ; gray-patterned dress with short frilled sleeves 
white low bodice with two yellow bands and pearl square buckles, yellow 
waistband from which depends chain with gold watch and ruby seal; gray 
hair, white cap, black laee scarf around head, the ends falling over bosom, 
pearl earrings ; right elbow on arm of chair, hand resting against forehead, 
rings on last two fingers, left hand on lap holding partly opened book, rings 
on first and second fingers. 



\-^ 



Exhibited: Guildhall, London, 1902, So. 56 (('. Butler). 

Collections and sale: W. Twopenny, 1874; and Charles Butler, Ma// '-(5, 1911, 
No. 149. 



On the hack of the canvas is pasted a piece of paper with the following 
inscription: "Portrait of Mrs. Pritchard the actress by W. Hogarth, Hot of 
W. H. Tiffin in 18").'}. There is a portrait of her by Hogarth, head and shoul- 
ders only, exactly like this at Lord Talbot de Malahide's in Ireland.'" The 
above is probably the portrait of Airs. Pritchard sold in the Campbell Sale at 
Christie's in 18(57 as bv Hogarth. 



No. 145 
SIR THOMAS LAWRENCE, P.K.A. (?) 

1769—1830 
MB. LAMBERT 

Canvas: Height, 49 inches; width, 39 inches 

Probably James Staunton, of Watervale, born March 5, 1789; J. P. and D.L., 
Higb Sheriff, 1813, and M.P. for Co. Galway from 1826 to 1833, a Liberal 
Conservative "most conscientious in the discharge of ever}' duty"; died July 
1, 1867. 

Three-quarter length figure of a middle-aged gentleman, standing, di- 
rected to left, looking at spectator ; black frock coat, dark breeches, red plush 
waistcoat, white turned-down collar with black stock, long gold chain; dark 
hair, grayish side whiskers; right hand holding scroll inscribed "Public Ac- 
counts," and resting on two volumes respectively labeled ''Reports on Ire- 
land" and "Commons Vol. XIII," on which rests red dispatch case; to right 
red armchair and old-gold curtain, to left stone pillar with distant view. 

This portrait, which came from Castle Lambert, in Ireland, was painted 
in the thirties of the last century, and is probably the work of an Irish portrait 
painter. It is too late for Lawrence. 



No. 146 
THOMAS PHILLIPS, P. A. 

1770—1845 

PORTRAIT OF A LADY 

Canvas: Height, 49 mches; width, 39 indies 

Three-quarter length of middle-aged lady, standing directed to front, 
head turned and looking to right; blue velvet low dress cut square, short 
sleeves trimmed with old gold, blue cloak over shoulders and around arms. 
white laee corsage, old-gold waistband with large ruby in center, pearl neck- 
lace and drop pearl earrings ; white turban head-dress with pearl rope, ruby 
and pearl bracelets and rings; scarlet tablecloth to right, brown background. 



No. 147 
MASON CHAMBERJLIN, R. A. 

Died in 1787 
PORTRAITS OF MR. AND MRS. HOPKINS 

Canvas: Height, 40 inches; length. 50 inches 

Benjamin Bond Hopkins, of Pain's Hill, Surrey, son of Benjamin Bond of 
Leadenhall Street, London, a Turkey merchant (who inherited the estates of 
"Vulture" Hawkins and assumed that surname) ; married as his second wife, 
May 20, 1773, Mary, daughter of Captain Tomkins of Downing Street, Lon- 
don ; died January 30, 1794, aged 48. Mrs. Hopkins, a literary lady who 
translated several parts of the Bible, separated from her husband about a year 
after their marriage, and died September 27, 1788. For a further account 
see Gentleman's Magazine, February, 1794, pp. 183-4. 

Two half-length figures seated in a landscape facing each other. Mr. Hop- 
kins in blue coat and waistcoat embroidered with gold and with lace neck- 
erchief, lace cuffs, wig. Mrs. Hopkins in pink dress with short sleeves, lace 
fichu and pearl necklace, earrings and bracelets, playing a guitar, her husband 
holding a music book; spray of flowers at center of corsage; trees and 
shrubs in background. 

Collection: Mrs. Henshaw Russell, 1907. 



No. 148 
SIR EDWARD Rl RNE-JONES, A.R.A., D.C.L. 

1833—1898 

PSYCHES WEDDING 

Canvas: Height, 40 inches; length, 81-1/2 inches 

A procession of nine blue-clad maidens and an old man pass across the 
foreground to the right, the girlish Psyche in gray in the center; the girls 
in front strew flowers as they go, while those behind play musical instru- 
ments; in the distance a river and low hills. 

Signed with, initials and dated in left hand corner: E. B. J., 1895. 

Exhibited : New Gallery, 1899 (A. Tooth 8f Sons), and Burlington House, 
London, 1909 (G. McCulloch). 

Collection and sale: George McCulloch, Christie's, May 29, 1913: purchased 
for Mr. Blakeslee. 

Etched by F. Jasinski, 25 by 13'. inches; 1901. 



No. 149 
JACOB HOUSMAX (or HI YSMANS) 

Circa 1633—1690 

MRS. BLOUNT 

Canvas: Height, 52 inches; width, 35 ' -. inches 

Three-quarter length, in a landscape, walking to right and looking at 
spectator; old-gold shot-silk low dress edged with white and fastened in 
front with pearl buttons, short sleeves with broad white trimming, brown- 
ish gray cloak around shoulders fastened with small brooch; brown curly 
hair with pearl ornament; pearl necklace and drop earrings, waistband of 
large blue-glass beads; right hand holding fold of dress, left hand extended 
and holding a sheet of music; to left trees and blue sky, clouds and dis- 
tant view of building to right. 

Inscribed to left in gold letters: Mrs. Blount. 



No. 150 
SIB WILLIAM BEECHEY, R.A. 

1753—1839 
ADMIRAL BRIDPORT, K.B. 

Canvas: Height, 50 inches; width, 40 inches 

Alexander, second son of the Rev. Samuel Hood, younger brother of Admiral 
Samuel Viscount Hood; born in 1724; entered the Navy; rear-admiral in 
1780; K.B., 1788; created Baron Bridport 1794, Viscount 1800; died May 3, 
1814. 

Three-quarter length, standing to front looking to right, in naval uniform, 
blue coat with star of an order and gold chain with pendant, white waist- 
coat and breeches; gray hair; right hand holding sword. 



No. 151 
WILLIAM DOBSON (after VAN DYCK) 

1610—1646 
THE EARL OF PORTLAND 

Canvas: Height, 52 inches; width, 39 inches 

Richard Weston, the statesman; born in 1577; M.P. for various constituencies 
from 1601 to 1626; knighted 1603; Chancellor of the Exchequer 1621 ; created 
Baron Weston, 1628; Lord High Treasurer 1628-33; created Earl of Port- 
land 1633 ; died in 1635. 

Three-quarter length of elderly man, standing to front, looking to right; 
black dress with pearl fastener, white reflected cuffs and elaborately gauf- 
fered broad ruff, broad blue band suspended from neck with locket pen- 
dant; blue cloak over shoulders, right arm resting on ledge of pedestal, 
the ungloved hand holding open document, left hand gloved and holding 
wand of office; gray hair, pointed beard; background, brown curtain and 
stone pillar. 

A copy of the Van Di/clc portrait engraved by Hollard and described in Smith's 
"Catalogue RaisonnS" No. 575. 



No. 152 
MRS. MARIA (OSWAY 

IT')!) 1838 
LADY SKATED AT A PIANO 

Canvas: Height, 50 inches; width, 40 inches 

Three-QUAJRTEB length figure of a young woman, about twenty-live, seated 
at an open rosewood piano or spinet, in white low dress with broad gray 
sash, fair hair bound with white, black felt hat with Large black feather; 
right arm resting on piece of open music on piano and turning over a page 
with her fingers; left arm on lap, tips of fingers on keyboard; trees in back- 
ground with distant view to left. 



No. 153 
SIR GODFREY KXELLER 

1648—1723 
POBTBAIT OF A MAX 

Canvas: Height, 50 inches; width, 40 inches 

Three-quarter length of a young man, standing to front; red coat with 
gold buttons and white sleeves, gold-embroidered waistcoat, white necker- 
chief; flowing brown wig. black felt hat in right hand, left hand inserted in 
opening of coat; stone balcony with distant landscape to left. 

From an anonymous sale at Christie's, July 12, 1912, Xo. 11, when it was 
described as a portrait of George, Prince of Wales. 



No. 154 
SIR PETEK LEEY 

1617—1681 
DUCHESS OF RICHMOND {"LA BELLE STUART) 

Canvas: Height, 50 inches; width, 40 inches 

Frances Teresa Stuart, granddaughter of first Lord Blantyre ; born in France 
in 1647, maid of honor to Queen Catherine; mistress of Charles II; married 
the Duke of Richmond ; a famous beauty, and probably the original of the 
figure of Britannia on the copper coinage; died in 1702. 

Three-quarter length, age about thirty ; seated near a balcony, directed to 
left, looking at spectator ; scarlet low dress with short white full sleeves, blue 
mantle across waist and over knees, jeweled brooch at center of corsage; fair 
curly hair; large, broad-brimmed black felt hat with white feathers; end of 
narrow brown shawl held with left hand, tassel of blue cloak in right ; earth- 
enware jar with flowers to left, blue curtain to right. 

Inscribed in right hand lower corner: Duchess of Richmond. 

From an anonymous collection sold at Christie's, July 12, 1912, No. 8. 

No. 155 
ALE AX RAMSAY 

1713—1784 
PORTRAIT OF A LADY 

Canvas: Height, 50 inches; width, 40 inches 

Three-QUARTER length, age about fifty, standing to front, looking at spec- 
tator; white satin low dress, short sleeves edged with broad white frills; 
white muslin fichu, black scarf across shoulders and linked at center of cor- 
sage with pearl fastener; three-row pearl necklace, powdered hair dressed 
high, right hand with gold and ruby chain, left hand holding miniature pen- 
dant with a man in blue dress; sculptured alcove and pillar background. 

Collection and sale: Sir Walter liartellot, of Stopltani House, Vulborough, 
Sussex, June 19, 1911, No. 150. 



No. 156 
SIR PETER LELY 

1(517—1681 

THE PRINCE AXD PRINCESS OF ORANGE 

Canvas: Height, 69 inches; width, o.'J iridic* 

William II of Nassau, Stadtholder of the Netherlands; horn in 1627. Suc- 
ceeded his father in May, 16-17, as William II, Prince of Orange; died at The 
Hague in 1650. 

Mary, daughter of Charles I of England; born in November, KJ.'Jl ; married. 
May 2, 1648, the above Prince of Orange; died in September, 1(560. 

Two seated figures to front on a balcony. To right the Prince in black 
robes, with broad white cuffs, scarlet band showing under cloak, white cravat, 
right hand holding fold of cloak, left on hilt of sword. To left the Princess 
in rich brown dress with lace insertion, short sleeves with broad white trim- 
ming, blue cloak around back and on lap ; pearl necklace and earrings, dark 
hair; right hand holding spray of orange plant with fruit, left hand holding 
pomegranate; red curtain to left, landscape in the distance. 

From a collection of historical portraits (formed about 1860-70), at Christie's 
"the property of a gentleman" November 19, 1910, Xo. 81. 



No. 157 
SIR JOHN WATSON GORDON, R.A. and P.R.S.A. 

1790— 1864 
THE MACKENZIE CHILDREN 

Canvas: Height, 6,3 mches; width, W inches 

Group of three children near a balcony; the elder boy of five or six in Scotch 
kilts with white waistcoat, white socks and black shoes, standing by a large- 
arm high-backed chair, on which are seated his younger brother in brownish- 
red dress and white lace collar and his sister in white dress and bine apron; 
she is holding flowers in her left hand, other flowers are on her lap and on the 
ground; pillar and green curtain background. 



No. 158 
SIR WILLIAM BEECHEY, R.A. (Ascribed to) 

1T53— 1839 
THE STAR 

Canvas: Height, 86 incites; width, 51 inches 

W hole-length, life-size figure of a young woman about twenty, emblemati- 
cal of the Star, floating in mid-air, in dark-brown dress with jeweled star over 
forehead; brown hair; right arm upraised, hand over head, left arm ex- 
tended holding in hand a phial from which incense is pouring; flowering 
plant to right. 



No. 159 
FRANCIS WHEATLEY, R.A. 

1747—1801 

PORTRAIT OF A LADY 

Canvas: Height, 87 inches; width, 56 inches 

Whole-length, life-size, about twenty-five, walking in a wooded landscape, 
white low dress, short sleeves, blue sash, right hand carrying straw bonnet 
with blue bows, left hand extended; fair curly hair. 



No. 160 
WILLIAM DOBSON (after VAX DYCK) 

1610—1646 
LORD JOHN AND LOUD BERNARD STUART 

Canvas: Height, 85 inches; width, 48 inches 

Sons of Esme, third Duke of Lenox. Two whole-length, life-size figures, 
standing in front of a pillar and blue curtain; the younger brother to front 
and looking to left, scarlet dress, brown cloak, leather top boots; fair curly 
hair. The elder brother to right, back to spectator, head turned, looking 
to front, white satin dress, stockings and shoes, blue cloak over left shoulder, 
gold hilt of sword partly covered by cloak; fair, long, curly hair. 

A copy of Van Dyclt's famous picture, which for generations belonged to the 
Karl of Darnlei) at Cobham Hall, but which was sold by private treaty 
in 1912. 



No. 161 
JOHN SIXGLKTOX COPLEY, R.A. 

17:37—1815 

BATTLE OF DUNKIRK {September, 1793) 

Canvas: Height, 59 unites; length, 94 inches 

A battle scene under the walls of Dunkirk with numerous figures, masses of 
red-coated soldiers on the right are pressing home a bayonet charge against 
blue coats, fallen and wounded soldiers are seen on both sides: in the center 
a fallen officer in yellow coat with red facings, white waistcoat and breeches, 
is surrendering his sword to a soldier. 

Painted in 1800. 



No. 162 
BENJAMIN WEST, P.R.A. 

1738—1820 

CONVERSION OF ST. PAUL 

Canvas: Height, 68 inches; length, 104 inches 

A broad, hilly landscape, with towers, aqueduct and building in the middle 
distance; the foreground occupied with a large company of civilians and 
soldiers in medieval costumes; to left a group of travelers with St. Paul in 
red dress and white head-covering and hands upraised as in supplication; 
dark masses of trees and rocks to right and left. 

From the Torre Abbey Collection, and sold at Christie's, February 26, 1859, 
No. 73. 

Note: This is doubtless "The Conversion of St. Paul, a finished sketch 
for the painted window in St. Paul's Church, Birmingham," exhibited at the 
Royal Academy, 1791, No. 426. Another sketch for the same picture was 
exhibited at the Royal Academy of 1801, No. 80. 



No. 163 
BENJAMIN WEST, P.E.A. 

1738—1820 
DEATH OF HYACINTHUS 

Canvas: Height, 89 inches; -width, 73 inches 

The story is taken from Ovid's "Metamorphoses," Book x. Hyacinthus, a 
son of Amyclas and Diomede, greatly beloved by Apollo and Zephyrus. He 
returned the former's love, and Zephyrus, incensed at his coldness and indif- 
ference, resolved to punish his rival. As Apollo, who was entrusted with the 
education of Hyacinthus, once played at quoits with his pupil, Zephyrus blew 
the quoit, as soon as it was thrown by Apollo, upon the head of Hyacinthus, 
and he was killed by the blow. Apollo was so disconsolate at the death of 
Hyacinthus that he changed his blood into a flower which bore his name, and 
placed his body among the constellations. 

Two whole-length life-size figures in a rocky landscape; Hyacinthus, clad 
only in a white cloak attached by a narrow band over left shoulder, is dying, 
and is supported by Apollo in flowing dark-red drapery, his right around 
his waist, the left hand resting gently on the forehead; two cupids floating 
in the air to left. 

Signed and dated in lower left hand corner: B. West, pinxit, 1771. 

Exhibited: Royal Academy, 1772, No. 273. The companion picture of "Jwno 
receiving flic Cestus front Venus," exhibited in the same near, was also 
acquired in recent //cars by Mr. Blakeslee and is now in an American 
collection. 



ENGLISH SCHOOLS 

[CONTINUED] 



THIRD AND LAST NIGHT'S SALE 

FRIDAY, APRIL 23, 1915 
IN THE GRAND BALLROOM 

OF 

THE PLAZA 

FIFTH AVENUE, 58th to 59th STREET 
BEGINNING PROMPTLY AT 8.15 O'CLOCK 



No. 164 
JOHN OPIE, H.A. 

1761—1807 

PORTRAIT OF A BOY 

Canvas: Height, '2-1 inches; width, l!) ] o inches 

Head and shoulders, to front, yellow dress with white collar; portfolio under 
left arm ; long golden hair. 



No. 165 
Sill THOMAS LAWRENCE, P.R.A. 

1769—1830 
THE COUNTESS OF ESSEX 

Canvas: Height, 21 inches; width, 17% inches 

Catherine Stephens, vocalist and actress, daughter of a carver and gilder; horn 
in London in 179-1; appeared at Covent Garden in 1813 as Mundane in "Ar- 
taxerxes," acted Polly in ''The Beggars' Opera," etc. ; said to have had the 
sweetest soprano voice of the time; retired in 1835; married in 1838 the fifth 
Earl of Essex; died in 1882. 

Head and shoulders of a beautiful young woman about twenty-five, directed 
to front and looking to right; scarlet low dress trimmed with white; black 
curly hair with white band, pearl drop earrings; grayish background. 



No. 166 
SIR THOMAS LAWRENCE, P.R.A. 

17(59—1830 

HEAD OF A GIRL 

Canvas: Height, 17% inches; width, 13 inches 

Head and shoulders of a pretty child of about three or four, looking at 
spectator full face; white low dress with purple waistband; brown hair; blue 
background. 

From an anonymous sale at Christie's, June 7, 1912, No. 57. 



No. 167 
GEORGE ROMNEY 

1734—1802 
LADY HAMILTON AS "MIRANDA" 

Canvas: Height, 18 incites; width, 15 incites 

Head and .shoulders, directed to right, head leaning to left, looking up with 
open-mouthed grieved expression; long auburn hair falling over shoulders, 
bare arms, white light drapery over shoulders. 

From an anonymous sale at Christie's, June 13, 1913, Xo. 115. 



No. 168 
JOHN HOPPNER, R.A. 

1758—1810 
PORTRAIT OF LADY CAMPBELL 

Canvas: Height, '2i incites; mdth, 20 inches 

Head and shoulders of an attractive-looking lady about twenty-five, directed 
and looking to right, white semi-low dress, brownish waistband, powdered 
curly hair with white turban-like broad band; red curtain background. 

From the collection of Lad// Sassoon. 



No. 169 
GEORGE HENRY HARJLOW 

1787—1815) 
PORTRAIT OF A LADY WITH RED 11 AT 

Canvas: Height, 28 inches; width, 23 inches 

Half-figure of young lady about eighteen to twenty, to front, in gray low 

V-shaped dress bordered with old gold, white chemisette, red patterned 
belt; large broad-brimmed red velvet hat, black hair falling in curls over neck 
and forehead; left arm resting on a volume and holding another in hand. 



No. 170 
SIR PETER LELY 

1618—1680 
THE DUCHESS OF CLEVELAND 

Canvas: Height, 28 inches; width, 23 incites 

Barbara, daughter of William Villiers, second Viscount Grandison, born in 
1641; married Roger Palmer, Earl of Castlemaine; Lady of the Bedchamber 
to Queen Catherine; notorious for her amours and trafficking in state ap- 
pointments ; mistress of Charles II, who created her Duchess of Cleveland in 
1670; died in 1709. Frequently painted by Lei v. 

Half-figure, about thirty, seated to front, head inclined to left and sup- 
ported by right hand, elbow on red-covered table ; grayish low dress trimmed 
with lace and garnished with rope of pearls, short sleeves with full white 
cuffs, white-lined black cloak to left; pearl necklace and earrings; brown 
hair falling over right shoulder; brown curtain background. 



No. 171 
JOHN CONSTABLE, R.A. 

1776—1837 

HAMPSTEAB HEATH 

Canvas: Height, 24- inches; length, 25) inches 

Broad sweeping view of the heath, with row of trees in center; to right high 
Iii 11 with square white house with smoking chimney, and eows on the hori- 
zon to right; the foreground to right, cart and two horses at the entrance to 
a gravel pit; pool, with donkey and driver, in center. 

This is a variant of the Sheepsbans picture etched by David Lucas and 
as plate 22 in "English Landscape Scenery," 1855, 



No. 172 
JOHN OPIE, H.A. 

1761—1807 
GOIXG TO SCHOOL 

Canvas: Height, 28 inches; width, 2.'}' ■> inches 

Half-figubes of two children in the open: the elder, a girl in green low dress 
with patterned crossover and white mob eap with blue band, satchel hanging 
on gloved right hand. She is holding the right hand of a curly brown-haired 
boy who is dressed in dark-brown jacket with white open collar and dark 
felt hat ; he is holding a book in the left hand ; bine sky and tree background. 

Collection : The late Capt. Warner of Leicestershire. 



No. 173 
GEORGE IIEXRY HARLOW 

17S7— 1819 

GROUP OF TWO CHILDREN 

Canvas: Height, 29 inches; width, 24 inches 

Two young, fair-haired girls, seated to front in an open landscape, white low 
dresses, the elder with red coral necklace looking up to left and holding a 
robin in her hands: the younger looking at spectator, her right hand on her 
sister's shoulder; background, autumnal trees and sky. 

Purchased from an anonymous sale at Christie's, Mai) 15, 1913, Xo. 14*9, when 
it was ascribed to "Lawrence." 



No. 174 
SIK JOSHUA REYNOLDS, PJEt.A. 

1723—1792 

MISS THEOPHILA PALMER 

Canvas: Height, 29 inches; width, 2-t inches 

"Offie," second daughter of John Palmer, of Torrington, Devon, and the fav- 
orite niece of Sir Joshua; born in 175(5; married in January, 1783, Robert 
Lovell Gwatkin, of Plymouth; died at Bideford, Devon, July 5, 1848. 

Half-figure, age about thirty, to front, head slightly inclined over right 
shoulder, looking to left; dark dress with short sleeves, trimmed with white, 
white fichu, narrow black neck ribbon tied in a bow; dark hat trimmed with 
blue ribbon and with white ostrich feathers; right arm leaning on table. 

Purchased from the Palmer family and sold by Messrs. Agnew to Mr. Blakeslee. 



No. 175 
WILLIAM HOGARTH 

1697—1764 

PORT HA IT OF PEG WOFFINGTON 

Canvas: Height, 29 inches; width, 24 inches 

The famous actress often painted by Hogarth. A bricklayer's daughter, horn 
in Dublin, October 18, 1720; acted on the Dublin stage from the age of seven- 
teen to twenty; appeared at Covent Garden in 1740, and was for many years 
the leading British actress, as famous for her beauty and coquetry as for her 
talents on the stage, from which she retired in May, 1757; died .March 28, 
17(50. 

Haf-figuke of the actress when about thirty, in an oval, directed to left and 
Looking at spectator; grayish bodice, white fichu with pink ribbon bow at cen- 
ter of corsage, brown hair, white lace tight-fitting cap fastened under chin 
with pink ribbons. 

From an anonymous sale at Christie's, June 22, 1903, No. 97. 



No. 176 
SIR THOMAS LAWEENCE, P.R.A. 

1769—1830 
SIP THOMAS BUCKLER LETHBRIDGE, BART. 

Canvas: Height, 29 inches; width, 24 indies 

Son of John Lethbridge, Esq., who was created a Baronet of Sandhill, Somer- 
setshire, in 1804; born in February, 1778; M.P. for Somersetshire 1806-12, 
1820-30; Colonel of the second Somerset Militia; succeeded his father in 1815; 
died October 17, 1849. 

Half-figure, age about forty, to front, looking to right, grayish military 
coat fastened, embroidered with gold stripes across chest, scarlet collar, gold 
epaulettes, black stock ; fair, straggling hair, dark background. 

Described in Sir Walter Armstrong's "Sir Thomas Lawrence," 1913, p. 146. 
From the family. 



No. 177 
SIR JOSHUA REYNOLDS, P.R.A. 

1723—1792 
MBS. MUSTERS AS "HEBE" 

Canvas: Height, 29 inches; width, 2-i inches 

Sophia Catherine, daughter of Janus Modyford Heywood, of Marston, Devon; 
married, in 1776, John Musters of Golwick Hall, Notts; died in 1819. She 
is described by Miss Burney in 1779 as "the present beauty, whose remains our 
children may talk of, the reigning toast of the season." She frequently sat 
to Sir Joshua from 1777 to 1782. 

Head and shoulders, aged twenty-five to thirty, directed to right; looking at 
spectator full face; flowing pinkish dress with white chemisette and short 
sleeves; right hand holding reddish jug; brown wind-blown hair with blue 
and gold band; blue-gray background. 

The engraved whole-length portrait of Mrs. Musters as "Hebe," painted 
circa 1782, is in the Iveagh Collection. 



No. 178 
SIH JOSHUA REYNOLDS, P.R.A. 

17 2:5 -1792 

COUNTESS OF STRAFFORD 

Canvas: Height, 29 inches; width, 24 inches 

Lady Anne Campbell, second daughter of John, second Duke of Argyle; born 
in 1715, married April 28, 1741, William Wentworth, Karl of Strafford (a 
title created in 1711 by Queen Anne and extinct in 175)9): died February 7. 
1785, from her clothes having accidentally caught fire. 

Half-figuee, middle age, to front, head slightly inclined and looking to left; 

white low dress with two strings of pearl and precious stones on corsage, 
bine and ermine cloak over right shoulder, on which a plait of her brown hair, 
bound with bine ribbon, falls: pearl earrings, blue neck ribbon with double 
row of pearls. 

E it g raved by J. McArdeU, 11 by 15). 17(52: also (reversed) by J. Brooksharc, 
1770. by •/. Johnson, T. Johnson and by Spicer. 

From Thomas McLean's Sale. January 18, 1908, No. 135. 

Note: According to Graves and Cronin's "Reynolds" the Countess of 
Strafford paid £15-15-0 (which would be the first half payment) for this 
portrait on February 3, 1761. Possibly neither this nor the companion por- 
trait of the Earl was delivered: at Sir Joshua Reynolds's sale at Greenwood's 
rooms, Savile Row, London, on April 15, 1796, the portraits of Lord and 
Lady Strafford were sold for two and three and a half guineas respectively to 
"Bvng of St. James's Square." The portraits were only known through the 
engravings and were not traced by Graves and Cronin. This one of the 
Countess at one time belonged to Messrs. Agnew. 




No. 179 
SIR THOMAS LA WHENCE, P.R.A. 

1769—1830 
CHARLOTTE LADY STRANGE 

Canvas: Height, 29 inches: width, 2-1 indies 

Charlotte Margaret, second daughter of the Rev. Geoffrey Hornby; married 
June 30, 1798, her cousin Edward Lord Strange (who succeeded his father 
in 1834 as thirteenth Karl of Derby); died June 1(5, 1817. 

Half-figure, age twenty-five to thirty, seated to front looking to right, 
three-quarter face; white low dress with frilled collar and short sleeves, gold 
and ruby brooch at center of corsage, reddish waistband, long yellow glove 
on left arm (which is only partly seen) ; black curly hair falling over fore- 
head and ears; stone pillar to left. 

Collection: Captain l , 1iij>j>s Hornby. 

This is sometimes ascribed as a portrait of the thirteenth Countess of 
Derby, but Lady Strange died many years before her husband succeeded to 

the title. 



No. 180 
TILLY KETTLE 

1740—1780 

COUNTESS OF STRAFFORD 

Canvas: Height, 29 inches; width, 24 inches 

Half-figube, middle-aged, to front looking to left, three-quarter face, low 
dark dress, short white sleeves with pearl fasteners, and white laee at neck, 
pearl ornament at center of corsage, yellow waistband, dark cloak over shoul- 
der; two-row pearl necklace with pearl pendant; powdered hair with pearl 
hand, black aigrette. 

This is a variant by Tilly Kettle of the portrait of the Countess of 
Strafford, described under Sir Joshua Reynolds in this sale: Catalogue No. 
178. 

No. 181 
SIR JOSHUA REYNOLDS, P.R.A. 

1723—1792 
MRS. FORTESCUE 

Canvas: Height, 29 inches: width, 24 inches 

Mary Henrietta, eldest daughter of Thomas Orby Hunter of Croyland Abbey, 
Lincolnshire, a Lord of the Admiralty; horn about 17.'H; married the Right 
Hon. James Fortescue, of Ravensdale Park, P.C., M.P. ; died December 24, 
181-t, aged eighty. Her second son succeeded his uncle as second Baron 
Clermont in 1806. 

Half-figure, age about twenty -five, seated to front; head slightly inclined 
to left; blue and white dress, white fichu, flowers in corsage; brown hair 
dressed high, with string of pearls and red ribbon, pearl drop earrings; arms 
folded and resting on brown ledge, on which are roses ; dark background. 

Mrs. Fortescue sat to Reynolds in 1761. 



No. 182 
SIK HENRY RAEBUEN, K.A. 

1756—1823 
MRS. CATHCABT 

Canvas: Height, 21) inches: width, 24* inches 

Half-figure., age twenty-five to thirty, seated in a landscape, directed to 
front, looking slightly to left; white satin low dress with high waist, black 
mantle, arms crossed on lap, ring on penultimate ringer of left hand; brown 
hair falling in curls over forehead; background balustrade and trees. 



No. 184 
GEORGE ROMNEY 

1734—1802 

LORD HUNTINGDON 

Canvas: Height, 29 inches; width, 24 inches 

Francis, eldest son of ninth Karl: horn in 1734: succeeded his father in 174(5; 
carried Sword of State at the Coronation of George III, 17(51 : died without 
issue October 2, 1789, when the ancient baronies were carried by his eldest 
sister into the Rawdon family and thence to the Earldom of Loudoun. 

Half-figure of elderly man about sixty, directed to left, head turned, look- 
ing" at spectator; brown coat, white tie, dark felt hat with blue trimming, 
powdered wig, rustic walking stick under left arm; background balustrade 
and distant view. 

The canvas has been relined and is inscribed "Painted by G. Romney 
1790." It is, there can be no doubt, one of the two copies of a portrait by an 
artist whose name is not stated, done by Romney in 1791 and 1795; see Ward 
& Roberts' "Romney," p. 83. 



No. 185 
SIR JOSHUA KEYXOLDS, P.R.A. 

1723— 1 792 
TJTE COUNTESS OF AN CHUM 

Canvas: Height, 29 inches; width, 24 1 , L > inches 

Elizabeth, only daughter of Chichester Fortescue, and granddaughter of first 
Lord Mornington ; horn in 1745; married in 170.'$ William John, Earl of 
Ancrum, afterwards fifth Marquis of Lothian; died September .'JO, 1780. 

Half-figure, looking to left; pink overdress trimmed with fur; gray low 
bodice; powdered hair dressed high and hound with pink ribbon, plait over 
left shoulder; right arm resting on pedestal; dark background. 

From the Lesser sale, February 10, 1912, No. 30. 

Sir Joshua painted several portraits of the Countess of Ancrum from 
1709 to 1771. 




No. 186 
RICHARD WILSON 

1713— 1782 

ROME AND THE CAMPAGNA 

Canvas: Height, 28 inches; length, 51 inches 

Broad view of the Campagna, with distant hills; trees to left and right, fig- 
ure driving eattle to left: in the foreground two figures conversing near a 
portion of a carved stela or ancient tombstone. 



Signed at bottom to left with entwined monogram: R. W. 



No. 187 
JOHN CONSTABLE, K.A. 

177G— 1837 
THE OLD MILL 

Canvas: Height, 27 inches: length, 35 inches 

A richly foliaged summer scene, in which an old water mill, red-tiled house 
and overhanging trees occupy the left side of the picture; in the distance 
an undulating country with tall poplar and other trees and a cottage are 
seen; in the middle distance, and on the mill-pool, dammed up with a 
wooden palisade, is a sailing boat; in front on the shallow water a small boat 
with fishermen is seen near a willow tree; on the hank to left are two youth- 
ful figures, one of whom is fishing. 

Signed to left at bottom edge: John CONSTABLE. 



No. 188 
ALFRED EDWARD CHALON, R.A. 

1781—1860 
PORTRAIT OF A LADY 

Canvas: Height, 30 inches; width, 25 inches 

Head and shoulders, age about twenty, directed to left, head turned looking 
at spectator; red cloak trimmed with fur, white collar; dark curly hair, large 
black felt bonnet, with black feathers and edged with white lace, fastened 
under chin with dark ribbon; gloved hands only partly seen. 



No. 189 
FRAXCIS COTES, R.A. 

1726— 1770 
PORTRAIT OF THE HOX. CHARLOTTE JOHNSTON 

Canvas: Height, 30 inches: width, 25 inches 

Half-figure, in an oval, about thirty years of age, to front, head turned 
and looking to left, three-quarter face, white dress with lace at corsage, scar- 
let and ermine overmantle, scarlet waistband tied at center; black hair, 
strand falling over right shoulder ; gray background. 



No. 190 
GEORGE KOMNEY 

1734—1802 

MRS. BRAKE 

Canvas: Height, .'30 'unites; width, 25 inches 

Rachael, daughter and heiress of Jeremiah Ives of Norwich; married 
August 21, 1781, as his second wife, William Drake, M.P., of Aniersliam, 
Bucks; died August .'}, 178-1. Her elder daughter married the third Lord 
Boston. 

Half-figukEj directed to right, head turned and looking at spectator; white 
dress, powdered hair dressed high, white head-dress; left arm resting on a 
brick-red balcony; red curtain background. 

Painted in 178.'}, the artist receiving £21. 

Purchased in 100.'} from Lord Boston by Messrs. Colnaghi oy Co. 

Reference: 'J'. II. Ward and W. Roberts, "Romne/t," 100 k j>. 4(5. where a full 
list of the various sittings is printed. 



No. 191 
FRANCIS COTES, R.A. 

1 720—1 770 

FORTH AIT OF A LADY 

Canvas: Height, 30 inches; width, 25 inches 

Half-figure^ about twenty -five, in an oval, directed and Looking to right; 

white low dress edged with lace, white and pink sleeves, flowers at center 
of corsage, lace frilled collar; black hair with string of pearls and white 
feather, pearl earrings. 



No. 192 
SIR THOMAS LAWRENCE, P.R.A. 

1769—1830 

MR. E. J. BLAMIRE 

(Chairman of the Commission on Sewers) 

Canvas: Height, 30 inches; width, 25 inches 

Head and shoulders of an elderly man, to front, looking at spectator full 
face, black coat and vest, white stock, gray wig, hands only partly seen on 
lap; red table and curtain background. 

Collections: The late Mrs. ./. M. Kenned//, until July, 1902; and Sir Edgar 
Vincent. 

Sir Walter Armstrong's "Lawrence" 1913, p. 115. 



No. 193 
JOHN" HOPPXER, K.A. 

1758—1810 

THE COUNTESS OF GUILDFORD 

Canvas: Height, 30 niches; width, 25 inches 

Maria Frances Man, daughter of George, third Earl of Buckinghamshire, 

born in 17(50; married September .'JO, 1785, the Hon. George North, who suc- 
ceeded his father in August, 1792, as third Earl of Guildford; died April 2.'3, 
1704. A famous beauty, described by the Prince of Wales (George IV) as 
"the only modest woman of position that he was acquainted with." 

Half-figure., seated to front and looking to left; white dress and fichu, 
black satin sash, black gauze scarf over left arm ; powdered hair bound with 
band of silk; gold neck chain; rich red curtain background. 

Collection: ('apt. G. W. Tyler, of Tidmarsh Grange, Pangbourne, who in- 
herited it from his father. Admiral Sir George Tyler, who married a 
twin sister of Lady Guildford. Sold by order of the High Court of 
Justice, August 6, 191.'}, to Mr. Neville Cooper, of .'57 Duke Street. 

London, who sold it to Mr. Blakcslcc. 

Described and illustrated in the Supplement (191 1) to "John Hoppner, R.A.," 
by W. McKay and 11'. Roberts. 

Although this portrait has always been known as a Hoppner, it possesses 
more of the characteristics of Sir Thomas Lawrence than Hoppner. 



No. 194 
JOHN OPIE, R.A. 

1761- 1807 
GIRL WITH CAT 

Canvas: Height, 30 inches; width, -~> inches 

Whole-length seated figure of a little girl about five, directed to left and 
looking at spectator; dull-brown low dress trimmed with white: brown curly 
hair; gold bracelet, hands clasped over a tabby cat which rests on her lap; 
dark background with window or balcony to right. 



No. 195 
SIK THOMAS LAWHENCE. P.R.A. 

1769—1830 

MISS HARE 

Canvas: Height, 30 inches: width, '25 inches 

Half-figure, age about twenty-five, standing to front: white high-waisted 
dress cut to V-shape, white collar, short sleeves, gray belt and gray cloak 
around shoulders and arms ; red coral necklace, black curly hair with broad 
white band, right arm resting' on red-covered table: pillar to left, tree to 
right. 

Back of canvas inscribed: Sir Thomas Lawrence, P.R.A.. 1824. 



No. 196 
HENRY R. MORLAND 

Circa 1730—1797 
PORTRAIT OF A LADY 

Canvas: Height, 30 inches; width, 25 inches 

Half-figure, about twenty-five, to front, looking at spectator; blue low 
dress with white lace insertion, puffed wbite sleeves, bow at center of corsage, 
purple shawl over right arm ; long white lace head-dress with blue ribbon. 

No. 197 
JOHN OPIE, R.A. 

1761—1807 
MR. RICHARDSON 

Canvas: Height, 80 inches; width, 25 inches 

Head and shoulders of elderly man, to front, brown coat and waistcoat closely 
fastened, wbite neckerchief slightly seen; gray wig; dark background. 




No. 198 
SIR HENRY RAEBURN, R.A. 

1756—1823 

LORD CRAIG 

Canvas: Height, 34% inches; width, 26 1 /> inches 

William Craig, the Scotch Judge; born in 1745, educated at Edinburgh, Advo- 
cate 1768; Sheriff-Deputy of Ayrshire 1787; Lord of Session 1792; died in 
1813. A contributor to The Mirror and The Lounger, two famous weekly 
periodicals on the plan of Addison's Spectator, edited by Henry Mackenzie, 
author of the once famous "Man of Feeling." 

Half-length, directed to right, in crimson gown with white cape, crimson 
ribbon and rosettes, large white cuffs ; hands clasped, resting on arm of chair, 
gray wig; red curtain background. 

Raeburn Exhibition, Edinburgh, 1876 (by Mr. Andrew Hay Wilson). 
Sale: "The property of a gentleman,''' Christie's, May 10, 1912, Xo. 54. 
James Greig, "Raeburn," 1911, p. 42. 



No. 199 

ALLAN RAMSAY 

iti:j — 1784 

PORTRAIT OF A LADY 

Canvas: Height, 30 'niches; width, 25 inches 

Bust of young woman to front and looking at spectator with smiling expres- 
sion ; gray low bodice almost entirely hidden by a brown and bine cloak or 
overdress; bine plush turban head-dress; black hair, of which a plait falls 
over right shoulder. 

Collection: Robert Hoe, New York, February, 15)11, No. (>4, illustrated in the 
sale catalogue. 



No. 200 
JOHN OPIE, K.A. 

1761- 1807 
MR. JAMES WHITEHEAD 

Canvas: Height, 30 inches: width, '2~y indies 

Head and shoulders of elderly man, age .5.5-60, to front, looking up to left; 
brown coat fastened with one button, yellow patterned waistcoat, white stock, 
gray wig. 



No. 201 
GEORGE ROMNEY (Period of) 

Latter Half of the Eighteenth Century 

COUNTRY GIRLS 

Canvas: Height, 31% inches; width, 28% inches 

Small whole-length figures, in an open landscape with evening effects, of 
three young women in red, brown and gold low dresses, probably illustrat- 
ing a classical scene or story ; two are pointing to a distant scene and trying 
to induce their companion to look that way, but she is recoiling in horror; 
gray sky background. 



No. 202 
FKAX( IS COTES, K.A. 

1726—1770 

MISS MARY DASHWOOD 

Canvas: Height, li(> inches; width, 28 inches 

Half-figure of a young lady about twenty-five, to front, looking to right, 
white low dress with pink bow, elaborately pleated bodice, short sleeves with 
broad muslin and lace cuffs, black bracelets, black shoulder band tied in center 
of corsage with pink bow, black velvet band around neck; brown hair with 
pearl ornament; right hand holding shuttle, the cotton from which is held in 
left hand, arm on red table. 

No. 203 
SIR WILLIAM BEECHEY, R.A. (?) 

1753—1839 
LADY HARRIET VERNON 

Canvas: Height, .'J5 inches; width, 27 inches 

Youngest daughter of Thomas, Earl of Strafford; married, in 1 74Ji, Henry 
Vernon of Hilton Park, Co. Stafford; died April 12, 178(5. 

Half-length, about twenty-five, to front, looking to left, brown and white 
low dress with gold insertion and short sleeves, broad blue waistband, er- 
mine cloak over shoulders, pearl bracelet; powdered hair, gold and white 
turban with border of rubies; right arm resting on ledge, hand supporting 
face. 

An excellent portrait much more suggestive of Sir Joshua Reynolds than 
Beechey, and to which reference is made in Mr. Roberts's Introduction. It is 
curious to note that in 1775 a "Lady Harriet Vernon" sat to Reynolds for a 
picture which has never been traced. 



No. 204 
GEORGE 1U)MXEY 

1734— 1802 

MAJOR PEIRSON 

Canvas: Height, 36 inches; width, 27 inches 

Born at Cote, near Burton-on-Kendal, about 1740; entered the Honourable 
East India Co. 1771 and attained the rank of Major; died at Calcutta, August 
5, 1781. 

Half-figure, directed to left and looking downwards; red coat with large 
gold buttons, white neckerchief, long staff held by left arm, hand hidden in 
fold of coat; fair brown hair, dark background. 

Note: This is the principal figure cut out from the group of Major 
Peirson, a Brahmin and servant exhibited by Romney at the Society of Artists, 
1771, and described in T. H. Ward & W. Roberts's "Romney, Catalogue 
Raisonne," p. 120. This group remained in the collection of W. Miller-Rawlin- 
son, of Duddon Hall, Broughton-in-Furness, until its sale in July, 1902. 



No. 205 
RICHARD COSWAY, R.A. 

1742—1821 

LADY BOYNTON AND CHILD 

Canvas: Height, -MJ'o inches; wdth, 36 indies 

Mary, oldest daughter of James Heblethway te ; married, us his second wife 
(after 1767), Sir Griffith Boynton, sixth Bart., of Barton Agnes, Yorkshire 
(he died in 1778) ; she married secondly John Parkhurst, of Catesby, and died 
May Mi, 1815. 

Three-quarter length of a young woman, seated to front in plain wood 
chair, looking at spectator, white low dress w ith broad stiff laee collar, pow- 
dered curly hair: gold ring on penultimate finger of left hand, which sup- 
ports the child's shoulders. The infant in long clothes and laee cap on the 
mother's lap is looking up towards her; gray background with door to left, 
cradle seen to right. 



i & j 



From an anonymous sale at Christie's, March 19, 1904-, No. !)!■. 



No. 206 
SIR JOSHUA REYNOLDS, P.R.A. 

1723—1792 
MISS KITTY FISCHER 

Canvas: Height, 35 inches; width, 27 inches 

The most celebrated woman of the town of her time. Katherine Maria, daugh- 
ter of a German staymaker, named Fischer; married at Haddington, Scot- 
land, October 25, 1766, John Norris, Jr., grandson of Admiral Sir John 
Norris ; lived under the protection of Captain Keppel; sat to Sir .Joshua Rey- 
nolds frequently between 1759 and 1767; died at "The Three Tuns" Inn, Stall 
Street, Bath, March 10, 1767, aged about twenty-six, "a victim to cosmetics"; 
buried at Benenden, Kent. 

Three-quarter figure, directed and looking to right, seated on a blue sofa; 
white low dress, yellow cloak trimmed with ermine; holding dove in lap, an- 
other dove perched on edge of sofa; brown hair with plait falling over left 
shoulder; blue curtain and brown pillar background. 

Collection: E. W. Beckett, M.P., May 23, 1903, No. 85. 

The version of the same portrait which formerly belonged to A. Geddes, 
A.R.A., is in the Lenox Collection in the New York Public Library. 



No. 207 
FKAXCIS COTES, R.A. 

1726— 17T0 

PORTRAIT OF MRS. OLIVE 

Canvas: Height, 49 inches; width, 39 inches 

Nearly whole length of a lady about thirty, seated to front in a carved 
wood and red plush upholstered armchair, looking to left; green satin dress 
with short sleeves, white fichu, white long gloves, three dark hands around 
waist, each with a square jeweled buckle; right arm resting on table, left 
elbow on arm of chair, hand holding glove; fair hair with tight-fitting flat 
white bonnet fastened around neck with dark ribbons; pearl earrings; gray- 
ish background with red curtain to left. 



No. 208 
BENJAMIN WEST, P.K.A. 

1738—1820 
DEATH OX THE PALE HORSE 

Canvas: Height, 38 incites; length, 55 inches 

Sketch for the finished picture in the Pennsylvania Academy. 

Signed and dated in center at lower edge: B. West, 180-1. 
Exhibited at the Royal Academy, 1804. 



No. 209 
SIH PETEK J.ELY 

1617—1680 
MISS ELIZABETH LIDDELL 

Canvas: Height, 49 1 -j inches; width, 32 inches 

Probably Elizabeth, daughter of Sir Henry Liddell, Bart., of Ravensworth 
Castle, who married, in 1696, Robert Ellison of Hebburn, Co. Durham. 

Whole-length portrait of a young girl about nine or ten, in a landscape 
leaning against a rock ; gray satin low dress with flowing blue mantle : fair 
hair; holding a flat rustic basket of flowers which is resting on a rock, near 
which is a growing large thistle. 



No. 210 
SIR THOMAS LAWRENCE, P.R.A. 

1769—1830 
LADY MELVILLE 

Canvas: Height, 49 inches; width, 39 inches 

Anne, daughter of Huck Saunders, M.D., and sister of the Countess of West- 
moreland; married August 29, 1796, Robert, second Viscount Melville; died 
in 1841. 

Three-quarter length, about twenty-live, standing' in a landscape directed 
slightly to right, looking at spectator; black low dress with short sleeves, edged 
with white, right sleeve with pearl and ruby fastener; white flowing scarf 
around neck, pearl bracelet; golden hair dressed in curls; left hand resting 
on bosom, gold ring set with ruby on penultimate finger; stone pillar and 
flowering shrubs to left, blue sky and shrubs and trees to right. 

Collection : Fischhof of Paris, 1906. 



No. 211 
GEORGE HENRY HARLOW 

1787—1819 
GIRL PLAYING THE HARP 

Canvas: Height, 49 inches; width, 3b' inches 

Nearly whole length of a young lady about twenty, .standing looking at 
spectator and playing a harp; low white satin dress with short sleeves, blue 
sash; brown curly hair; background crimson curtain and pillar, landscape 
seen through an open window. 



No. 212 
FREDERICK W. WATTS 

Exhibited from 1821 to 1862 

THE CANAL BOAT 

Canvas: Height, 47 inches; width, 37 inches 

A river scene with rustic bridge and a barge containing three figures, two 
harnessed horses standing on the bank beyond; dense clump of willows and 
other trees to right, distant view to left. 

Collections: William Cave, 1859: Viscount Falkland, June 14, 1907, No. 23. 

Xote: This is one of the many excellent works by F. W. Watts which long 
passed as by John Constable. 



No. 213 
SIR MARTIN ARCHER SHEE, P.R.A. 

1769—1850 

MRS. KEMBLE AS 'COWSLIP'' 

Canvas: Height, 49 indies; width, 39 incites 

Elizabeth Satchell, daughter of a musical instrument maker; born about 1763; 
appeared at Covent Garden in September, 1780, as Poll/) in "The Beggars' 
Opera," played Desdemona to Stephen Kemble's Othello in 1783, about which 
time she married him; one of her successes was as Cowslip in O'Keefe's "The 
Agreeable Surprise"; died at The Grove, near Durham, January 20, 18-tl. "A 
little woman but a great actress," says one of her biographers. 

Three-quarter length, walking to right, looking at spectator, and carrying 
a white bowl; white low dress, pale-blue shawl over shoulders, red rose in 
center of corsage, gold necklace; brown curly hair, white high-crowned 
Welsh hat trimmed with blue ribbon: sculptured stone urn to left, autumnal 
tinted trees in background, distant landscape to right. 

Exhibited: Royal Academy, 1793, No. 32. 

Collections : 11. A. Rannie of Glasgow; and Sir Cnthhcrt Quilter, London, 1909, 
No. 96. 

Reproduced under the title of "The Country Girl," and as by Sir Joshua Rey- 
nolds in the "Pall Mall Magazine," January, 1905; and in the privately 

printed "Catalogue" of Sir Cnthhcrt Quitter's Pictures. 1909. 

Shee's "Life of Sir Martin A. Shee," 1860, />. 173. 

Note: This has been cut down from a whole length since it left the Quilter 
Collection. 



No. 214 
SLR PETER LELV 

1G17— 1G80 

FRANCES LADY DIGBY 

Canvas: Height, 49 inches; width, 39 inches 

Daughter of Edward, first Earl of Gainsborough ; married Simon, fourth 
Baron Digby; died in child-birth September, 1684, aged twenty-three. Funeral 
sermon preached by J. Kettlewell; see "Wilford's Memorials and Characters 
with Lives of Eminent Persons," 1741. 

Three-quarter figure seated at the foot of a large tree, directed to left and 
looking at spectator; brown low dress trimmed with white, short sleeves, 
gray overmantle with brooch of precious stones, brown curly hair falling in 
ringlets over neck, large pearl drop earrings, right hand holding edge of 
cloak, left hand on lap; distant view to left. 

Inscribed in lower left hand corner in gold letters: Frances 
Lady Digby. 

Collection and Sale: Earl of Gainsborough, April, 1902, Xo. 98. 



No. 215 
UEORGE ROMNEY 

1734—1802 

MRS. UPPLEBY 

Canvas: Height, 49 indies; width, 39 inches 

Dorothy, second daughter of George Crowle, of Fryston, Yorkshire; married, 
as his second wife, in 1745, John Uppleby of Wooton and Barrow Hall, Lin- 
colnshire; died September 15, 1787. 

Nearly whole length of elderly lady, seated at a balcony in a red chair, di- 
rected to right and looking at spectator; grayish slate-colored dress with 
short sleeves, long white gloves to elbows; black lace shawl over shoulders, 
white satin gauffered bonnet tied with white ehiffon; gray hair, hands folded 
on lap. 

Painted in 1783. 

In T. II. Ward and W. Roberts's "Romney," 1904, through the artist's 
almost indecipherable entries in his "Diaries." this portrait is incorrectly en- 
tered as "Appleby" ( |>. 4), under which name will he found a record of the 
picture. The portrait remained untraced until 1911. when it was purchased 
privately by Messrs. Sulley & Co., London. 



No. 216 
JOHN SIXGLETOX COPLEY, K.A. 

1737—1815 
THE FORTl XE- TELLER 

Canvas: Height, 49 1 ■_> incites; width, 39 inches 

Three-quarter length portrait of a lady in the character of Fortune-Teller, 
standing to front, in brown dress, short sleeves trimmed with white, partly 
tucked up white apron, white fichu, pink cloak over shoulders; brown hair 
with long curl resting on shoulder, bluish-white head-dress with pink bow; 
left hand extended and holding a coin, right hand raised as if in protest; 
background a wall and overhanging trees, distant landscape to right. 

Exhibited : Worcester, Mass., Museum, circa 1910. 

Briefly described in F. W. Baijlei/s "Sketch of the Life of J. S. Copley," 1910, 
p. 38. 



No. 21 



SIR HENRY RAEBURtf, R.A. 

1756—1823 

MRS. STEWART RICHARDSON 

Canvas: Height, 50 inches; width, 40 inches 

Elizabeth Ann, eldest daughter and co-heir of James Stewart of Urrard, Perth; 
married James Richardson of Pitfour, Perth (who died July 26, 1825). Their 
eldest son, John Stewart Richardson, succeeded his kinsman as thirteenth 
Baronet of Pitfour in 18J37. 

Half-length, middle age, seated in armchair, directed to left, looking at 
spectator; red dress cut to V-shape, white muslin collar and cuff's, white tur- 
ban head-dress, fair curly hair; right arm resting on table and holding gloves; 
to left table with books and black shawl, the end of latter on lap; gray back- 
ground with red curtain overhead to right. 

Exhibited: French Gallery, Pall Mall, 1911 ; illustrated in the volume of "Pic- 
tures by Sir Henri/ Raeburn, I{..t., exhibited at the French Gallery." 

James Gre'nj: "Raeburn," 1011, /;. 58. 



No. 218 
FRANCIS COTES, R.A. 

172(5—1770 

POBTBAIT OF MISS HASTINGS 

Canvas: Height. 49 1 1 > incites; width, 39 1 ■_. incites 

Three-quarter length of a young lady about twenty-five, in a landscape, 
.standing, directed to right, looking at spectator, white dress, broad white 
gauffered collar: brown curly hair, straw hat edged and trimmed with blue, 
black shawl under left arm : trees and shrubs to right. 



i & j 



From an anonymous sale at Christie's, July 12. 1912. Xo. 10. 



No. 219 
FRANCIS COTES, R.A. 

1726— 17T0 
GIRL WITH A HARP 

Canvas: Height, 50 inches; width, -H) inches 

Whole length of a young girl about ten, seated in a landscape, directed to 
right, looking at spectator; white low dress, long creamy white jacket edged 
with gold, pink shoes with gold buckles; long, fair hair, right hand resting 
on knee, left hand on small harp-like instrument; trees with autumnal foliage 
to left, distant landscape to right. 



No. 220 
GEORGE FREDERICK WATTS, R.A. 

1817—1904 

LADY AND TWO CHILDREN 

Canvas: Height, 49 inches; width, .'39 inches 

Group of a mother, about twenty-five to thirty, and two young' children near 
a balcony. The mother seated, and embracing the elder child, who is in red 
low dress, white stockings and black shoes ; the younger child on its mother's 
lap in white dress and arms extended; pillars and red curtain background. 

Signed and dated to left across rug on the mother's Ui}>: G. F. 
Watts, 18:37. 

Note: A very interesting picture, probably the earliest in existence, of 
this great master and differing totally from his well-known style of later date. 
He first began to exhibit at the Royal Academy in 1837. 



No. 221 
Sill THOMAS LAWRENCE, P.B.A. 

1769—1830 
MARQUIS OF HERTFORD 

Canvas: Height, 50 inches; width, 40 inches 

Francis Charles Seymour, Earl of Yarmouth; horn in March, 17T7; M.P. for 
Oxford, Lishurne and Camclford, 1819-22; Vice Chamberlain to the Prince 
Regent; succeeded his father as third Marquis of Hertford in 1822; died in 
March, 1842. He was the original of Thackeray's "Lord Steyne," and one 
of the most notorious "men about town" during the latter part of the eigh- 
teenth and early nineteenth centuries; his wife was the heiress Maria Fagnini, 
and their son, the fourth Marquis, was the founder of the Wallace Collection 
in London. 

Half-length, standing to front, looking to right; black buttoned-up coat 
with velvet collar, the red lining of vest showing at neck, white collar, black 
stock, wearing the star of the Order of the Garter; red hair and side whis- 
kers. 

Painted about 1825. 

Engraved by W. Holt, I 1 £> by 3 1 ■_. inches, for Jerdan's "National Portrait Gal- 
lery," 18:33. 

Collections: Marquis of Hertford; Sir "Richard Wallace; and Sir John E. A. 
Murray Scott. 

Murray Scott Sale, dune, 1913, No. 109. 

Sir W. Armstrong's "Lawrence" 1913, p. 139. 



No. 222 
JACOB HOISMAN (or HUY8MANS) 

1056—1(596 

MRS. HOBEY 

Canvas: Height, 53 inches; width, 37 inches 

Three-quarter length figure, age about thirty-five, seated, directed to left 
and looking at spectator ; bluish low silk dress, short broad sleeves with fast- 
teners and brooch of precious stones ; brown curly hair with blue ribbon and 
pearl ornaments ; right arm on rock, hand resting against face, left arm on 
lap, fingers extended; stag to right; background stone wall, with foliage to 
left. 

Signed to right on rock in gold letters: Mrs. Hobey. J. Hous- 

MAX PlNX. 



No. 223 
SIH JOSHUA EEYXOLDS, P.R.A. 

1723—1792 
EARL GOWER (MARQUIS OF STAFFORD) 

Canvas: Height, 88 incites: rcirftlt, 57 inches 

Son of John 1st Earl Gower; born August 4, 1721; M.P. for Westminster 
17-17-1764; Lord Privy Seal, Lord Chamberlain and Lord President of the 
Council; succeeded as second Karl Gower in 1754; created Marquis of Staf- 
ford, March 1, 178(5; died October 2(5, 1803. 

Whole-length, middle-aged, standing on a balcony, in Peer's robes with 
chain and pendant of St. George; coronet in right hand, left holding ribbon 
of cloak: wig; pillar and red curtain to left. 

Earl Gower sat to Reynolds in 17(50-1. 



No. 224 
SIR GODFREY KXELLER 

1(54(5—1723 
PORTRAIT OF WILLIAM III 

Canvas: Height, 50 inches: width, 40 inches 

Three-quarter length, middle age, standing to right, looking at spectator 
full face; in demi-suit of armor, blue and gold dress, white lace scarf and 
cuffs, red cloak flowing across shoulders and fastened with large brooch set 
with a miniature, long black wig: left hand resting on hip, right hand hold- 
ing baton; to right table with crown; to left sculptured wall or pillar. 

Inscribed at lower left hand corner: William III. 

Collection: The Earl of Sheffield. December 11, 1909, Xo. 99. 



No. 225 
SIR GODFREY KNELEEIi 

1 046— 1723 

SOPHIA, WIFE OF GEORGE I (?) 

Canvas: Height, ST inches; width, 52 inches 

Only daughter and heiress of George, Duke of Zelle; born February 3, 1066; 
married November 21, 1682, George, Elector of Hanover, who succeeded as 
George I of Great Britain in August, 1711: divorced in 169-1; died Novem- 
ber 13, 1726. 

Whole length, about twenty-five to thirty, life size, standing near a balcony, 
in state robes, blue ermine lined gown and mantle and white satin gold-em- 
broidered petticoat, richly studded with pearls and precious stones, fair hair 
with pearl and other .ornaments; left hand holding robes, right hand on orb 
which, with crown, rests on blue-covered table; red curtain background. 

Exhibited: Guelph Exhibition, New Gallery, 1891, No. 11. 

Collection : Duke of Fife, of Duff House, Banffshire, June 7, 1907. 

No. 3152 in the old catalogue of the Fife pictures. This was No. 17 
in the Duke of Fife sale and was included among the portraits by unknown 
artists. It is a very fine portrait of a beautiful woman, more in the style of 
a French artist than Kneller and probably represents some other Queen 
Sophia than the wile of George I, to whose other known portraits it bears 
no resemblance. A lengthy reference to the picture will be found in Mr. 
Roberts's Introduction. 



No. 226 
SIR DAVID WILiKIE, B.A. 

1785—1841 
KIXG WILLIAM IV 

Canvas: Height, 51 inches; width, 41 inches 

Third son of George III; born August 21, 1765, created Duke of Clarence and 
Earl of Munster; entered the Navy in 1779: succeeded to the throne June 26, 
1830; died June 20, 1837. 

Three-quarter figure to front, looking at spectator, in full robes, with the 
decorations of the Garter, St. George and other orders; right hand resting 
on hilt of richly jeweled sword, left hand hanging down by side; bareheaded. 

Painted about 1833. 



No. 227 
SIR LAUBENZ ALMA-TADEMA, Ji.A. 

183(5—1912 
THE SCULPTURE GALLERY 

Canvas: Height, 86^ inches; width, 06 inches 

Interior view of a Roman sculptor's studio. In the center a slave is turn- 
ing a bronze vase mounted on a marble pedestal, which is being - inspeeted 
by a lady (who holds a large blue fan) and two gentlemen seated on a 
marble bench on the left; near them stand a lady and two children; a marble 
seated figure is seen on the right, and through a porchway men are seen 
at work. 

Signed to right on pillar: L. Alma-Tadkma, Or. (^XX\". 

Exhibited : Royal Academy, 1875; Grosvenor Gallery, 1883 (E. Gambart) ; 
Chicago, 189.'3 (C. McCulloch) ; Burlington House, London, 11)09 
(Mrs. McCulloch); same place, 1913 (Mrs. Contts-Michie — formerly 
Mrs. McCulloch). 

Engraved in pure line by Augusta Blanchard, 20 by 15% inches, 18TT; and 
frequently reproduced (e. g. "The Art Journal," March, 188.'}, p. (55). 

Collections: Ernest Gambart and George McCulloch. 

George McCulloch sale, Mai) 29, 1913, No. Ill (illustrated in the sale cata- 
logue) ; purchased for Mr. Hlahcslee. 

This famous work is the pendant of "The Picture Gallery," which ap- 
peared :A the Royal Academy of 1874. Bofh pictures wore commissioned by 
the dealers, Messrs. Pilgeram and Lefevre, for the Gallery of the late Ernest 
Gambart, WO, Consul-General for Spain, at Les Palmiers, Nice. After hang- 
ing there for many years, Mr. Gambart was induced to sell "The Sculpture 
Gallery" to .Messrs. Tooth, who sold it to the late George McCulloch. The 



figures in the picture are all portraits. The lady seated and holding a fan was 

a gnat beauty and an intimate friend of the Tadema family; the man next 
to her. and whose head is only partly seen, was Dr. Washington Epps, the 
artist's brother-in-law; Alraa-Tadema himself is seen giving directions by ex- 
tending his arm to his two children — Lawrence and Anna Tadema— by his first 
wife, to stand on one side whilst the slave is turning the vase. The lady stand- 
ing up behind the children is the artist's second wife (nee Laura Epps). The 
objects depicted in the picture are from celebrated antique works: The vase 
in the center from that in the Naples .Museum; the portrait of Agrippina from 
that in the Capitol at Rome; the portrait of Pericles from that in the Vatican; 
the silver dish upon the table from that in the Berlin Museum; the table from 
that in the Casa Rufi at Pompeii; and the Hercules Strangling the Serpent is 
also well known to archaeologists. 

After the picture was engraved Alma-Tadema introduced several modifi- 
cations which may readily be traced on comparing the picture with the en- 
graving. These alterations are in all cases improvements. For instance, the 
bronze horse from that in the Naples Museum, and of which the forequarters 
only are seen on the right in the engraving, has been eliminated, as well as 
the winged monster on which the horse rested; the latter is substituted by a 
dwarf marble column on which is the artist's signature; on the upper left hand 
corner some plain paneling has been replaced by a frieze and a sculptured 
column. 



No. 228 
SIT, WILLIAM Q. OPiCIIAllDSOX, R.A. 

1835—1910 
THE YOUNG DUKE 

Canvas: Height, 58 inches; length, 98 inches 

The scene is laid in a tapestried banqueting-hall ; a number of guests, 
dressed in costumes of the period of James II, are standing around the 
dining-table at the conclusion of the repast, with their glasses held on 
high, toasting the young Duke, their host, who is seated in an arm-chair at 
the head of the table; there are numerous dishes of fruit, silver ornaments 
and glasses decorating the dinner-table, and a large bowl of roses stands 
upon a serving-table in the foreground. 

Signed and dated : W. Q. Okchakdsox, '88. 

Exhibited: Royal Academy, 1888; Guildhall London, 1897 {G. McCulloch) ; 
Burlington House, London, 1909 (Mrs. Mc('ulloeli) ; International Ex- 
hibition, Home, 1911 (Mrs. Coutts-Michie — formerly Mrs. McCulloch). 

Etched by F. A. Laguillermie, 28 by TO 1 L . inches; reproduced by permission of 
Mr. Robert Dunthorne, the owner of the copyright, as the frontispiece 
to Christie's catalogue of the McCulloch sale. 

Collections and sale: Charles Seek, until 1S9(5, and G. McCulloch, Mai) 29, 
1913, No. 178; purchased for Mr. Blaheslee. 



No. '229 
SIP, DAVID W ILK IK. R.A. 

1785 1841 
QUEEN ADELAIDE 

Canvus: Height, 5] inches; width, 41 inches 

U.S. II. Amelia Adelaide Louise Terese Caroline Wilhelmina, eldest daughter 
of the Duke of Saxe-Meiningen ; horn August 13, 17!)2: married the Duke of 
Clarence (afterwards William IV) July 11, 1818; died December 2, 1849. 

Three-quartee length to front, looking to left, in coronation robes, white 
low dress, bine and ermine cloak, brown hair in curls over forehead, coronet 
with three drop pearls: three-row pearl necklace, jeweled bracelets and 
rings; fingers of left hand resting on book which lies on scarlet covered table, 
right hand holding white gloves; scarlet curtain to right, doorway to left. 

Painted about 1831 -2. 

No. 230 
MARTIN ( 'BEGAN, P.K.II.A. 

1788—1870 
MRS. HAWKINS AND CHILDREN 

Canvas: Height, 46 incites; length, 00 inches 
The wife and children of Captain J. Hawkins, of the Bombay Engineers. 

.V group of five figures. The mother with golden hair, seated to left in low 
blue silk dress, with scarlet and gold cloak over her shoulders; the youngest 
child in white on its mother's lap, holding her hand, gray felt hat in its left 
hand; the elder, golden, curly-haired girl, in white, rests her right hand on 
the child's shoulder and is pointing with a rose to her left; the second young- 
est child is standing by a red-covered table and is holding a spray of flow- 
ers; to the right, a gold-haired boy in blue suit with gold buttons and white 
lace collar is looking towards the mother; landscape background. 

From the collection of the family of Admiral Hawkins. Formerly ascribed to 
Sir William Beechey, and probably the picture exhibited at the Royal 
Academy of 1819, No. 202. 



No. 231 
SIR THOMAS LAWRENCE, P.R.A. 

1769—1830 
LADY SHAW 

Canvas: Height, 92 inches; width, 57 inches 

Whole length, life size, about twenty-five, walking to left on a seashore ; red 
low dress, with short sleeves trimmed with white lace, golden waistband, 
gold bracelet on right arm, ring set with ruby on last finger; dark curly 
hair with gold band and sprig of foliage; white shawl edged with gold 
flowing over right shoulder and held with right hand, left hand with ring- 
on penultimate finger and holding fold of dress; black shoes; to right mas- 
sive cliffs with flowers, to left view of sea, red flowering poppies, etc., on 
shore. 



No. 282 

WILLIAM DOISSOX 

1610—1646 

SIR CHARLES AND LADY LUCAS 

Canvas: Height, 47 inches; length, (5(5 inches 

The famous Royalist, knighted in 1638, taken prisoner at Marston Moor, 
1644; took a leading part in the defence of Colchester, and on its capitulation 
was condemned to death, August .'30, 1(>4S. His portrait was painted several 
times by Dobson. There is apparently no record that Sir Charles Lucas ever 
married, and the lady may be his sister Margaret, Duchess of Newcastle. 

Two half-length seated figures; to left a stout, middle-aged man, in red and 
brown dress with steel gorget and gold-handled sword, white lace collar and 
white cuffs, long brown hair; right arm resting on stone ledge, left hand ex- 
tended towards his companion, who is about thirty years of age and is fond- 
ling a King Charles spaniel. She is in white satin low dress with pearl and 
ruby ornaments, red cloak, blue coverlet or shawl on lap; pearl necklace, 
brown hair with pearl ornaments. 

Collection: The late Colonel W. E. G. Lytton-Bulwer, Quebec Hall, Norfolk, 
This picture is referred to in Mr. Roberts's Introduction. 



No. 233 
SIR PETER LELY 

1617—1680 
TWO LADIES AND CUPID 

Canvas: Height, 50 inches; length, 57 indies 

Two middle-aged ladies seated in a landscape; the principal figure to right 
in blue velvet dress garnished with pearls and precious stones, large pearl 
earrings, long brown curly hair ; she is holding the end of a chaplet of flow- 
ers which is offered her by Cupid, who occupies the center of the picture 
and is encircled by a scarlet robe and his fair hair with a floral wreath. The 
lady to the left is in brown dress with pearl and other ornaments, large 
drop pearl earrings, black hair of which a curl rests on the right shoulder. 
A second Cupid is seen in the air behind a tree; distant landscape and 
houses to right. 



No. 234 
SIR WILLIAM BEECHEY, R.A. 

1753—1839 

THE STANLEY CHILDREN 

Canvas: Height, 74 inches; width, 54 inches 

Group of three children near a balcony, looking at spectator; to left the 
eldest boy, in blue dress, white broad collar and fair hair, is supporting the 
younger girl, who is standing on a blue upholstered chair and is dressed in 
white with lace frilled cap and yellow sash; the elder girl is seated on a 
footstool, dressed in white, with red coral necklace and fondling a spaniel, 
on the edge of the chair hangs her large straw hat; to left a second dog is 
seen, flowers and a whip-top on the floor; to left distant hill landscape, to 
right red curtain. 

From Hey don Hall, Norfolk, the residence of the Bulwer fa mil//. 



No. 285 
SIR DAVID WILKIE, K.A. 

1785—1841 

CHRISTOPHER COLUMBUS EXPLAINING THE PROJECT 
OF HIS INTENDED VOYAGE FOR THE DISCOVERY 
OF THE NEW WORLD IX THE CONVENT OF LA RA- 
BID A 

Height, 57 indies; length, 78 incites 

A strangeb traveling on foot, accompanied by a young hoy. stopped one 
day at the gate of the Convent of Franciscan friars, dedicated to Santa Ma- 
ria de Rabida, and asked of the porter a little bread and water for his child. 
While receiving this humble refreshment the guardian of the convent. Friar 
Juan de Perez La Marchena, happening to pass by, was struck by the ap- 
pearance of the stranger, and observing from his air and accent that he 
was a foreigner, entered into conversation with him. That stranger was 
Columbus. 

The conference which followed, remarkable for opening a brighter pros- 
pect in the fortunes of Columbus, forms the subject of the picture, in which 
he is represented seated at the convent table, with the Friar on his right, 
to whom he is explaining on a chart the theory upon which his long-contem- 
plated discovery is founded. At his left is his young son Diego, with a small 
Italian greyhound at his feet, supposed to have accompanied them on their 
voyage from Genoa. 

At the other side of the picture, resting on the table, is the physician of 
Palos, Garcia Fernandez, who, from scientific knowledge, approved of the 
enterprise, and whose testimony has recorded this event. Behind him. with 
the telescope in his hand, is Martin Alonzo Pinzon, one of the most intelli- 
gent sea-captains of his day, who, though tarnished in his fame by subse- 
quent desertion, concurred in the practicability of his plans, assisted in the 
outfit of the expedition, and sailed with Columbus. With this support in 
confirmation of his own judgment, the Friar Juan de Perez became the 
friend and benefactor of Columbus, received his son into the Convent to be 
educated, and furnished to himself a recommendation to Fernandez de Tala- 
vera, Confessor to the Queen, which eventually obtained for him the assist- 
ance of the Court in his adventure, and to Spain the credit of his great dis- 
covery (see Washington living's "Life of Columbus"). 

Painted for Mr. R. S. Holford, who paid the artist £500 for it, and whose 
son, Captain (now Sir George L.) Holford, sold it with other pictures 



in 1895 to Messrs. T. Agnew § Sons, who sold it to Messrs. T. Wallis 

<§■ Sons, of London. 

Exhibited: Royal Academy, 1835, Xo. 64; British Institution, 1842, No. 18; 
Art Treasures, Manchester, 1857, Xo. 018; Burlington House, 1870, 
A T o. 35; same place, 1893, No. 133; and International Exhibition, Lon- 
don, 1874, No. 45. 

Engraved in stipple by H. T. Ryall, 18 ] /2 by 25 inches, June 18, 1843, dedi- 
cated to Mr. R. S. Holford, by the publisher, F. G. Moon. 

References : Allan Cunningham's "Life of Sir David Wilkie," 1843, Vol. Ill, 
pp. 78, 93, 95-0, 530; J. W. Mollett, "Sir David Wilkie," 1881, p. 89. 

Notes: Writing on December 17, 1834, John Constable says: "I was at 
Wilkie's all day on Monday; he has painted a noble picture, Columbus with the 
Monk, where he shows him his plan for overtaking another world." Constable 
had been asked by Wilkie to sit for one of the heads in the picture of Columbus, 
that of the physician Garcia Fernandez. Among Constable's papers Leslie 
found a slight pencil sketch of the whole composition of that fine picture. (See 
Leslie's "Life of Constable.") "This picture," says Dr. Waagen, "in which 
the figures are of an unusually large scale, is the chief specimen of the influ- 
ence of Velasquez and Murillo on this great painter. In truth, with the masses 
of deep chiaroscuro, the warm, full tones and broad treatment, it gives the 
impression of an old picture." 

With the picture will be sold a red leather volume containing (1 ) an auto- 
graph letter from Wilkie to Sir William Newton referring to a proposal for 
the engraving of the Columbus, (2) three engraved portraits of Wilkie, and 
(3) a permit, signed by Wilkie, admitting Lord Mulgrave to the private view 
of the Royal Academy, 1820. 



No. 236 
SIH JOSHUA REYNOLDS, P.R.A. 

1723—1792 
ANNABELLA LADY BLAKE AS "JUNO" 

Canvas: Height, 9.'i 1 L . inches; width, 57 inches 

Second daughter of the Rev. Sir William Bunbury, fifth Baronet; born in 
February, 1745; married first. Sir Patrick Blake (which marriage was dis- 
solved in 1778) : and secondly George Boscawen of St. Peter's, Isle of Thanet ; 
died April 20, 1841. 

Whole length, life size, as "Juno" receiving the Cestus from Venus, who 
is resting on a cloud with two doves, a peacock at her feet; classical pink 
dress and hlue cloak which she holds with her left hand; her hair, adorned 
with pearl ropes, falls in two plaits over her shoulders; right hand ex- 
tended to Venus who is partially draped in a pink robe. (The Cestus, a 
mysterious girdle, worn as an ornament, gave beauty, grace and elegance 
when used even by the most deformed: it excited love, and through it Juno 
was able to gain the favor of Jupiter.) 

Painted between 1704-9. 

Exhibited: Royal Academy, 1701), No. 90: Burlington House, 1908, No. 146 
{Charles J. Wertheimer). 

Engraved in me~~otint by John Dixon. 24 by 10 incites, 1771: by S. W. Rey- 
nolds, 01^ by 4 incites, and frequently repeated: a full-page plate was 
published in Christie's sale catalogue, Mai), 1912. 

Collections : The picture remained in the Bunbury family until its sale (with 
other Bunbury pictures), by private contract, to the late Mr. Charles 
John Wertheimer, in whose sale at Christie's, Man 10, 1912, it was Xo. 
64. The companion whole length of Sir Patrick Blake belonged to Mr. 
David H. King, Jr.. of New York, and was in his sale in March, 190-5. 

Graves and Cronin's "Reynolds," 1899, Vol. /. 



No. 237 
Slli THOMAS LAWRENCE, P.R.A. 

1769—1830 

KEMBLE AS "ROLLA" 

Canvas: Height, 130 inches; width, 85 inches 

John Philip Kemble as Roll a in Sheridan's "Pizarro." Son of Roger Kemble; 
born in 1757; educated at Douai, and first appeared in London in 1783, as 
Hamlet; "Pizarro" was produced at Drury Lane in 1799, the cast including 
Mrs. Jordan and Mrs. Siddons ; Kemble retired from the stage in 1817; and 
died in 1823. 

Whole length, heroic size, in classical costume, short white coat with gold 
trimmings, belt studded with diamonds, panther's skin across shoulders, red 
sandals, jeweled leg-hand, left arm outstretched holding golden-haired 
child, right hand holding sword. 
In the original frame. 

Exhibited: Royal Academy, 1800, No. 193; British Institution, 1806, Xo. 46; 
same place 1844, No. 144 (Sir Robert Peel). 

Collection: Sir Robert Peel, until the dispersal of the Peel heirlooms, May, 
1900, No. 214. 

The body of "Holla" is said to have been painted from Jackson, the pugilist, 
and the child from Sheridan's infant son. The picture is painted over 
Lawrence's "Prospero Calling up the Storm," 1794. 

Engraved by S. W. Reynolds, and published by Boydell at the Shakespeare 
Gallery, June 4, 1803, with the following quotation : 

Roe. Then was this sword Heaven's gift, not thine. 

( Seizes the child.) 

Who moves one step to follow me, dies upon the spot. 

(Exit with child.) 
"Pizarro," Act V, Sc. 2. 

References: Sir Walter Armstrong, "Lawrence," 1913, p. 142; and James 
Boaden, "Life of J. P. Kemble," Vol. 2, pp. 240-1. 

AMERICAN ART ASSOCIATION, 

Managers. 
THOMAS E. KIRBY, 

Auctioneer. 



LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 



ITALIAN SCHOOLS 
TUSCAN SCHOOLS 



CATAX.0G1 E 
NUMBER 



ALLORI. ANGELO (called BRONZINO) 

Portrait of a Lady of Quality 2 

Portrait of a Lady of the Cornaro Family 1 1 

MAESTRO TOMMASO 

The Nativity 8 

MASTER OF THE ORIENTAL SASH 

Madonna, Child and St. John 7 

MASTER OF THE SAX MINIATO ALTARPIECE 

Madonna and Two Adoring Angels 1 

PACCHIAROTTO, Giacomo 

Angel Musicians 5 

PULIGO, Domexico 

Madonna, Child and St. John 9 

SELLAJO, Jacob del 

Virgin and Child 4 

SPIXELLI, Pakri 

Madonna and Child 6 

TUSCAX MASTER 

Portrait of a Ladv 3 



CATALOGUE 
NUMBER 

VANNI, Francesco 

Virgin and Child and St. Katherine 10 

CENTRAL ITALIAN SCHOOLS 

Bologna, Ferrara, Umbria and the Marches 

ALFANI, Domenico 

Holy Family and St. John 15 

AMATRICO, Cola dell' 

The Annunciation 16 

ANGELI, Fra Martino (?) 

Madonna and Saints 17 

BERTUCCI, Giovanni Battista 

Madonna and Saints 14 

BOCCATIS, Giovanni 

Madonna and Angels 19 

FRANCIA, Giacomo 

Madonna and Child with St. John 13 



GIOVANNI LO SPAGNA 

St. Mary Magdalene 



k >9 



MANNI, GlANNICOLA 

Madonna and Child 18 

TURA, Cosimo (School of) 

Madonna and Child 12 

UMBRIAN SCHOOL 

Adoration of the Magi 20 

VITALE DA BOLOGNA (called VITALE DELLE 
MADONNE) 

Madonna and Saints 21 



NORTH ITALIAN SCHOOLS 
Milan, Vicenza, Verona. Venice 



BADILE, Antonio 

Portrait of a Lady 



CAT VLOGUE 
NUMBER 



33 



BISSOLO, Francesco 

Christ in a Landscape 
Virgin and Child 



24 
30 



BOCCACCINO, Boccaccio 

Madonna and Child 



23 



BONIFAZIO (EREDI DI) 

The Resurrection of Lazarus 



34 



BUTTINONE, Bernardino 

St. John and St. Lawrence 



32 



COXTL Bernardino de' 

Madonna and Child 



27 



GIROLAMO DA SANTA CROCE 
Madonna and Child 



28 



GIROLAMO DA TREV1SO 

Madonna and Child 



30 



MAZZOLA (EEUOLI), Girolamo 

Marriage of St. Katherine 



29 



PALMA VECCHIO 

Holv Family and St. Katherine 



31 



SOLARIO, Andrea 

Madonna and Child 



25 



CATALOGUE 
NUMBER 

VENETO, Bartolommeo 

Portrait of a Lady 2C 

ZELOTTI, Battista 

Historical Scene 35 

LATE ITALIAN SCHOOLS 

Seventeenth and Eighteenth Centuries 

CAMBIASO, Luca 

Madonna and St. John 40 

CANALETTO (ANTONIO CANALE) 

Canaletto's Conception of a Grand Opera House in 

Venice 4.5 

PIAZZETTA, Giovanni Battista 

Laughing Girl 37 

GIORDANO, Luca (called FA-PRESTO) 

The Holy Family 43 

MARIESCHI, Michele 

View of the Grand Canal 42 

PITTOXI, Giovanni Battista 

The Holy Family Appearing to St. Anthony 41 

PROCACCINI, Giulio Cesabe 

"Sibilla Persica" 39 

SOLIMENA, Francesco 

Mary at the Tomb of Christ 44 

TIEPOLO, Giovanni Domenico 

Portrait of an Old Man 88 



CATAI.iH.I i: 
NUMBER 

TINELLL Tiberio ( '.) 

Portrait said to be Francesco de Altamira 47 

TITIAN (Ascribed to) 

Susannah and the Elders 4t; 

SPANISH, DUTCH, FRENCH AND FLEMISH 

PICTURES 

SPANISH AND ROM AX SCHOOL 

COELLO, Aloxso Sanchez 

Anne of Austria, Wife of Philip II of Spain 59 

COELLO, Claudio 

Portrait of a Lady 49 

An Austrian Princess 5.'J 

GOYA Y LUCIEXTES, Francisco Jose de 

King Charles III of Spain (1716-1788) 52 

MAZO MARTINEZ, Juan B. del 

Portrait of a Young Lady 56 

Portrait of a Spanish Princess 58 

MURILLO, B. E. 

The Little Shepherd 48 

PANTOJA DE LA CRUZ, Juax 

The Infanta Isabella Eugenia Clara, Governess of the 

Netherlands 57 

VELASQUEZ, Diego Rodriguez de SILVA Y 

Queen Mariana of Spain 50 



CATALOGUE 
NUMBER 

ZUCCARO, Federigo 

Edward VI {Said to be) 51 

Lord Burghley 54 

Lady Burghley ( ?) .5.) 

DUTCH SCHOOL 

BACKER, Jacob A. 

Man with Pen in Hand 73 

BOL, Ferdinand 

Lady and Two Children 75 

CRANACH, Lucas 

The Jeweler's Daughter 6(5 

CUYP, Jacob Gerritsz 

Portrait of a Child 72 

DELFF, Jacob Willemszoon 

Maria Jacob van de Woot 00 

HOLBEIN, Sigmund 

Portrait of a Lady 04 

JANSSENS, Cornelis 

Portrait of Man with Lace Collar 07 

KESSKL, Johannes van 

Landscape 70 

KONINCK, Salomon de 

Sophonisba 80 

LEYSTER, Judith 

^\" < >i 1 1 1 1 with Cat 05 



CATAL0G1 i 
NUMBER 

MAES, Nicolaes 

Portrait of a Lady 77 

Family Group 78 

METSU, Gabriel 

A Visit to the Nursery 68 

MIEREVELD, Michiel J. van 

Lady with Ruff 74 

Marguerite van Bromkort 79 

MOREELSE, Patjlus 

Lucy Haringtoiij Countess of Bedford 82 

MUSSCHER, Michiel van 

The Concert 81 

MYTENS, Daniel 

Portrait of a Girl 69 

SANDRART, Joachim vox 

Portrait of a Lady 71 

VERSPROXCK, Jan 

The Toper 62 

WEYDEX, Coswin van uer 

Family of the Virgin 70 

WISSING, WlLLEM 

Portrait of English Nobleman 61 

ZYL, Gerard Pietersy van (Gherard van Leyden) 

Portrait of a Xun 63 



EARLY FRENCH SCHOOL 



CATALOGUE 
NUMBER 



BOUCHER, Francois 

Amorini 86 

DAVID, Jacques Louis 

Napoleon Bonaparte 109 

GUERIN, Francois 

Fillette jouant avec un Gareon endormi 97 

GUIARD, Adelaide Labille-des-Vertus 

Princesse de Lamballe 104 

Lady and Child 107 

LANCRET, Nicola (School of) 

Fete Champetre 110 

LARGILLIERE, Nicolas de 

Vicomtesse de Narbonne-Pelet 88 

Amphitrite and Attendants 93 

Vertumnus and Pomona 95 

Due de Penthievre 90 

Portrait of a Lady of the Court of Louis XIV 108 

LE BRUN, Madame Vigee 

Comtesse de Verdun 8.5 

Madame Vestris 94 

LEDOUX, Mademoiselle J. Philiberte 

Girl Asleep 8:J 

Girl Listening 84- 



CATALOGUE 
NUMBER 



LEPICIE, N. B. 

Head of a Youne Girl 87 



'e 



MIGNARD, Pierre 

Lady with a Dbg ( .>o 



t~i 



POURBUS, Francis 

Anne of Austria 102 

RAOUX, Jean 

Portrait of a Lady 89 

RIGAUD, Hyacixthe 

The Due d'Antin 98 

Madame Rigaud 10.5 

Lady in Bed 106 

TOCQUE, Louis 

Madame de la Marteliere 91 

TROY, Jeax Francois de 

Portrait of a Lady 103 

YAX LOO, Carle Axdre 

Portrait of a Girl 99 

Comtesse de Beaufort as Sultana 100 

Emperor of Germany 111 

Empress of Germany 112 

YESTIER, Axtoixe 

Comtesse de la Garde 92 

WATTE AU (of Lille), Louis Joseph 

Portrait of a Ladv 101 



CATALOGUE 
NUMBER 


115 


119 


110 


117 


113 


118 



FLEMISH SCHOOL 

RUBENS, Sir Peter Paul 

Head of Princess Elizabeth 
The Adoration of the Magi 

SUTTERMANS, Justus 
Lady in Red Dress 
Portrait of a Spanish Lady 

VAN DYCK, Sir Anthony 

St. Andrew 

A Lady of the Coningsby Family 

VAN ORLEY, Bernard 

Virgin and Child 114 

ENGLISH SCHOOLS 

ALMA-TADEMA, Sir Laurenz 

The Sculpture Gallery 227 

BEECHEY, Sir William, R.A. 

Admiral Bridport, K.B. 150 

Lady Harriet Vernon 20.'} 

The Stanley Children "234 

BEECHEY, Sie William. R.A. {Ascribed to) 

The Star 158 

BURNE-JONES, Sir Edward, A.R.A., D.C.L. 

Psyche's Wedding 1 tS 

CHALON, Alfred Edward, R.A. 

Mrs. Faiilie and Child 123 

Portrait of a Lady 188 



CATALO 

N I M I 

CHAMBERLIN, Mason. li.A. 

Portraits of Mr. and Mis. Hopkins 147 

CONSTABLE, John. li.A. 

Hampstead Heath 171 

The Old Mill 1S7 

COPLEY, John Singleton, HA. 

Battle of Dunkirk {September ,1793) 161 

The Fortune-teller 2 1 1 i 

COSWAY, .Mrs. Maria 

Lady Seated at a Piano 152 

COSWAY, Richard, R.A. 

Portrait of Lady Wentworth 136 

Lady Boynton and Child 205 

COTES, Francis, R.A. 

Portrait of a Lady 122 

Portrait of the Duehess of Marlborough (?) 133 

Portrait of Mrs. Jones (afterwards Walley) 143 

Portrait of the Hon. Charlotte Johnston IS'.) 

Portrait of a Lady 191 

Miss Mary Dashwood 202 

Portrait of Mrs. Olive 207 

Portrait of Miss Hastings 218 

Girl with a Harp 219 

CREGAX, Martin, P.R.H.A. 

Mrs. Hawkins and Children 230 

DEYIS, A. W. 

Portrait of a Lady 120 



CATALOGUE 
NUMBER 



DOBSOX, William 

The Misses Venables 140 

Sir Charles and Lady Lucas 232 

DOBSOX, William (after VAX DYCK) 

The Earl of Portland 151 

Lord John and Lord Bernard Stuart 160 

DOWXMAX, John, A.R.A. 

Portrait of Mrs. Mair 137 

GORDOX, Sir John Watson, R.A. and P.R.S.A. 

The Mackenzie Children 157 

HARLOW, George Henry 

Mrs. Richardson and Children 142 

Portrait of a Lady with Red Hat 169 

Group of Two Children 173 

Girl Playing the Harp 211 

HIGHMORE, Joseph 

Mrs. Pritchard, the Actress 144 

HOGARTH, William 

Portrait of Peg Woffington 17.5 

HOPPXER, John, R.A. 

Portrait of Lady Campbell 168 

The Countess of Guildford 193 

HOUSMAN (or HUYSMANS), Jacob 

Mrs. Blount 149 

Mrs. Ilobcv 222 



CATALOGUE 
NUMBER 

KETTLE, Tilly 

Portrait of a Lady L29 

Countess of Strafford 180 

KNELLER, Sib Godfbey 

Portrait of a Man 153 

Portrait of William III 224 

Sophia, Wife of George I (?) 22.5 

LAWRENCE, Sir Thomas, P.R.A. 

Francis Mount joy Martin 12.5 

Mr. Lambert 14.5 

The Countess of Essex 10.5 

Head of a Girl 1<><; 

Sir Thomas Buckler Lethbridge, Bart. 17(5 

Charlotte Lady Strange 179 

Mr. E. J. Blamire 192 

Miss Hare 195 

Lady Melville 210 

Marquis of Hertford 221 

Lady Shaw 231 

Kemble as "Rolla" 237 

LAWRENCE, Sir Thomas, P.R.A. {Period of) 

The Countess of Galloway 13.5 

LELY, Sir Peter 

Duchess of Richmond ("La Belle Stuart") 1.54 

The Prince and Princess of Orange 1.56 

The Duchess of Cleveland 170 

Miss Elizabeth Liddell 200 

Frances Lady Digby 214 

Two Ladies and Cupid 233 



CATALOGUE 
NUMBER 

MORLAND, Henry R. 

Mrs. Thornton, an Artist 138 

Portrait of a Lady 196 

OPIE, John, R.A. 

The Young Musician 121 

Musidora 139 

Portrait of a Roy 104 

Going to School 172 

Girl with Cat 194 

Mr. Richardson 197 

Mr. James Whitbread 200 

ORCHARDSOX, Sir William Q., R.A. 

The Young Duke 228 

PHILLIPS, Thomas, R.A. 

Portrait of a Lady 14(5 

RAEBURX, Sir Henry, R.A. 

Mrs. Cathcart 182 

Lord Craig 198 

Mrs. Stewart Richardson 217 

RAMSAY, Allan 

Portrait of a Lady 155 

Portrait of a Lady 199 

REYNOLDS, Sir Joshua, P.R.A. 

John Armstrong, M.D. 124 

Sir Walter Blackett, Hart. 128 

Portrait of the Artist 130 

Sir Robert Palk, Bart. 131 

Felina 134 

Miss Theophila Palmer 174 



C VI u." 
NUMBER 

Mrs. Musters as "Hebe" 177 

Countess of Strafford 178 

Mrs. Fortescue 1 si 

The Countess of Ancrum L85 

.Miss Kitty Fischer 206 

Earl Gower (Marquis of Stafford) 223 

Annabella Lady Blake as "Juno" 236 

ROMNEY, George 

Lady Grantham 127 

Lady Hamilton as "Miranda" 167 

Lord Huntingdon 184 

Mrs. Drake 190 

31 a j or Peirson 204 

Mrs. Uppleby 215 

ROMNEY, George {Period of) 

Daphnis and Chloe 132 

Country Girls 201 

SHEE, Sir Martin Archer, P.R.A. 

Portrait of a Lady 141 

Mrs. Keinble as "Cowslip" 213 

WATTS, Frederick W. 

The Canal Boat 212 

WATTS, George Frederick, R.A. 

Lady and Two Children 220 

WEST, Benjamin, P.R.A. 

Mrs. West and Child 126 

Conversion of St. Paul 102 

Death of Hyaeinthus 163 

Death on the Pale Horse 208 



CATALOGUE 
NUMBER 

WHEATLEY, Francis, R.A. 

Portrait of a Lady 159 

WILKIE, Sir David, R.A. 

King William IV 226 

Queen Adelaide 229 

Christopher Columbus Explaining the Project of His 
Intended Voyage for the Discovery of the New World 
in the Convent of La Rabida 235 

WILSON, Richard 

Rome and the Campagna 18G 



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